Incense burner of persimmon
銀落とし柿香炉

Artist 作家名	lacking a signature 無落款
Material 手法	Made of copper 銅製
Dimensions 寸法	幅(Width)10.5㎝、高さ(Height)8.0㎝
Caption 備考	明治時代、鎖国を終えた日本がいざ西洋に門戸を開くという頃、 驚異の技と美を結集させた日本工芸の名品が数多く生み出されました。 それらは「超絶技巧」と呼ばれ、後に世界を驚かせることとなります。 　幕藩体制が終りをつげ、かつてはお抱え職人として活躍していた金工師・蒔絵師など多くの職人達が行き場を失いました。 そんな中、明治政府は工芸品を「産業」として海外に売り出す政策を推し進めていきます。 職人達の技術は刀装具や調度品から、花瓶などの鑑賞陶器、香炉、暮らしを彩る様々な工芸品へと活躍の場を変え、存分に発揮されていきます。 本作もその流れをくむ作品でしょう。 本物と見紛うばかりの柿と、栗の実が二つ絶妙なバランスで配置されています。 香炉の蓋となる柿のヘタには虫食い跡まで再現、香煙がその穴を通っていく演出です。 栗の実には特有の縦筋を出すなど、作者の鋭い観察眼と再現力にただ驚くばかりです。 　It was the Meiji Era (1868-1912) when Japan was about to open its doors to the West after having ended its isolation, Many masterpieces of Japanese craftsmanship were produced, bringing together the marvels of technique and beauty. They were called “superb technique” and would later astonish the world. With the end of the shogunate and clan system, many goldsmiths, maki-e makers, and other craftsmen who had once worked for the shogunate lost their way. Under such circumstances, the Meiji government began to promote a policy of selling crafts overseas as an “industry. The skills of these craftsmen were fully demonstrated by changing their fields of activity from sword fittings and furnishings to pottery such as vases and incense burners, as well as various other crafts that add color to daily life. This work is a continuation of this trend. A persimmon that could easily be mistaken for a real one and two chestnuts are placed in perfect balance. The lid of the incense burner, a persimmon, even has insect bite marks reproduced on the base of the persimmon, allowing the incense smoke to pass through the holes in it. The artist's keen eye for observation and ability to reproduce the artwork is simply astonishing, as is his ability to create the distinctive vertical stripes on the chestnuts.
Period 製作年
Condition 状態
Accessory 付属品	Old box　時代箱
Biography 略歴

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