Английская Википедия:Inro

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Шаблон:Short description Шаблон:Italic title

Файл:壽字吉祥文蒔絵印籠 - Inrō with the Characters for Longevity and Good Fortune and the “Seven Lucky Treasures” on Checkerboard Ground.jpg
Шаблон:Transl with the characters for longevity and good fortune and the "Seven Lucky Treasures" on checkerboard ground, Edo period, 18th century, Metropolitan Museum of Art

An Шаблон:Nihongo is a traditional Japanese case for holding small objects, suspended from the Шаблон:Transl (sash) worn around the waist when wearing a kimono. They are often highly decorated with various materials such as lacquer and various techniques such as Шаблон:Transl, and are more decorative than other Japanese lacquerware.[1][2]

Because traditional Japanese dress lacked pockets, objects were often carried by hanging them from the Шаблон:Transl in containers known as Шаблон:Transl (a hanging object attached to a sash). Most Шаблон:Transl were created for specialized contents, such as tobacco, pipes, writing brush and ink, but the type known as Шаблон:Transl is suitable for carrying small things, and was created in the Sengoku period (1467–1615) as a portable identity seal and medicine container for travel.[1][2]

In the middle of the Edo period (1603–1868), Шаблон:Transl became popular as men's accessories, and wealthy merchants of the Шаблон:Transl and samurai classes collected Шаблон:Transl often beautifully decorated with lacquer. As the technique developed from the late Edo period to the Meiji period (1868–1912) and the artistic value of Шаблон:Transl increased, Шаблон:Transl were no longer used as an accessory and came to be regarded as an art object for collection.[1][2]

The term Шаблон:Transl is a combination of the kanji for Шаблон:Nihongo, which means a seal or stamp, and the kanji for Шаблон:Nihongo, which means a basket.

Description

Consisting of a stack of tiny, nested boxes, Шаблон:Transl were most commonly used to carry medicine. The stack of boxes is held together by a cord that is laced through cord runners down one side, under the bottom, and up the opposite side. The ends of the cord are secured to a Шаблон:Transl, a kind of toggle that is passed between the sash and pants and then hooked over the top of the sash to suspend the Шаблон:Transl. An Шаблон:Transl bead is provided on the cords between the Шаблон:Transl and Шаблон:Transl to hold the boxes together. This bead is slid down the two suspension cords to the top of the Шаблон:Transl to hold the stack together while the Шаблон:Transl is worn, and slid up to the Шаблон:Transl when the boxes need to be unstacked to access their contents.

Шаблон:Transl are mostly made from paper, wood, metal, or ivory, with the most common material being paper. Paper Шаблон:Transl are made by winding and hardening many layers of Шаблон:Transl paper with lacquer; paper was a popular material for Шаблон:Transl as unlike wood, it would not distort and crack over time.[1][2]

Шаблон:Transl are commonly decorated with lacquered designs, with the expensively produced Шаблон:Transl featuring Шаблон:Transl, Шаблон:Transl, ivory inlay and metal foiling. Though Шаблон:Transl and Шаблон:Transl evolved out of a mostly decorative capacity, Шаблон:Transl retained their functionality, having evolved from strictly utilitarian articles into objects of high art and immense craftsmanship.[1][2]

For a period of time in the Edo period, Шаблон:Transl was also used as a symbol of power. Today, among sumo referees (Шаблон:Transl), only Шаблон:Transl of the higher ranks are allowed to equip Шаблон:Transl.[3]

Today, many Шаблон:Transl are collected in the Metropolitan Museum of Art, the British Museum, and the Victoria and Albert Museum. Because Шаблон:Transl were popular among foreign collectors, there were few of the highest quality Шаблон:Transl made from the end of the Edo period to the Meiji period in Japan, but Masayuki Murata actively collected them from the 21st century, and today the Kiyomizu Sannenzaka Museum,[4] which he manages, houses many of the highest quality Шаблон:Transl.[2]

Today, Шаблон:Transl are made by a few craftsmen. The best lacquer technique from the end of the Edo period to the Meiji period, especially the Шаблон:Transl technique, was almost lost in the westernization of Japanese lifestyle. However, in 1985 lacquer craftsman Шаблон:Nihongo set up his own studio Шаблон:Nihongo and succeeded in recreating them. His lacquer works are collected in the Victoria and Albert Museum and the 21st Century Museum of Contemporary Art, Kanazawa, and are an object of collection for the world's wealthy.[5][6][7][8] Nowadays, Шаблон:Transl are rarely worn as kimono accessories, but there are collectors all over the world.[2]

Gallery

See also

References

Шаблон:Reflist

External links

Шаблон:Commonscat

Шаблон:Authority control

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  1. ↑ 1,0 1,1 1,2 1,3 1,4 Masayuki Murata. 明治工芸入門 pp. 104–106. Me no Me, 2017 Шаблон:ISBN
  2. ↑ 2,0 2,1 2,2 2,3 2,4 2,5 2,6 Yūji Yamashita. 明治の細密工芸 pp. 79–81. Heibonsha, 2014 Шаблон:ISBN
  3. ↑ 行司なくして大相撲は成り立たない！土俵支える裏方"行司"とは. NHK. July 5, 2019
  4. ↑ Kiyomizu Sannenzaka Museum
  5. ↑ Unryuan Kitamura Tatsuo. Lesley Kehoe Galleries
  6. ↑ 21st Century Museum of Contemporary Art, Kanazawa
  7. ↑ 超絶の伝統工芸技術の復元から 世界ブランド構築へのマーケティングヒストリー Web Dentsu. September 5, 2016
  8. ↑ 雲龍庵とは何者ぞ！細部に宿る漆工の美 超絶技巧の全貌 雲龍庵と希龍舎. Nikkan Kogyo Shimbun. September 21, 2017
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