Description
A Chinese theme is depicted on this tray which would have been inspired by woodblock prints of the time. There are two literati engaging in scholarly discourse under a pine tree (a well known symbol of longevity). An attendant holding a banana leaf fan follows behind. This combined imagery signifies men of both status and learned leisure which are common themes in Confucian and Daoist imagery. Another attendant holds a long scroll and proceeds them in crossing a small bridge while beckoning them to follow him. The act of crossing a bridge is often used to signify entering a new realm of understanding or even approaching enlightenment. Which leads us to the final figure, perhaps a hermit sage with an outstretched hand and seated on a lofty rocky outcrop. With this final element we can speculate this scene represents a scholarly journey to meet a wise recluse. The whole scene is imbibed with the imagery of refinement, enlightenment, learning and nature.
Murakami export lacquer was made during the Late Edo (mid-1800s) to Meiji (1868–1912) periods in the Murakami area of the coastal Niigata Prefecture in northwestern Japan. The technique is inspired by a desire to mimic the carved lacquers of China through achieving the same effect by first carving a wooden core. In some regards, one could say Murakami export lacquer is a hybrid of Kamakura carving techniques (Kamakura bori) and Chinese carved lacquer. Initially a wooden core is carved to approximate the initial design. After sanding, multiple layers of lacquer are applied and polished, with the finer details then being incised into the lacquer. The last layer is often a matte lacquer intended to produce a soft luster.
Japanese wooden box
Size is: 26.5 x 26.5 x 3.5
An identical tray is published in the book Oriental Lacquer Art by the well known lacquer scholar Lee Yu-kuan
