| Co-Investigator(Kenkyū-buntansha) |
HIDAKA Kaoru National Museum of Japanese History, Museum Research Department, Associate Professor, 情報資料研究部, 助教授 (80230944)
TAKEUCHI Namiko Tokyo National Museum, Department of Cultural Properoties, Senior Researcher, 文化財部, 主任研究員 (50270418)
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| Budget Amount *help |
¥7,100,000 (Direct Cost: ¥7,100,000)
Fiscal Year 2005: ¥2,800,000 (Direct Cost: ¥2,800,000)
Fiscal Year 2004: ¥4,300,000 (Direct Cost: ¥4,300,000)
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| Research Abstract |
This research discusses the lacquer style of Kodai-ji makie.
1) Production period
A minute observation of the group of early-modern furnishing at Kodai-ji Temple shows that these objects were produced over a considerably wide span of time. Although the pieces are treated collectively as the former possessions of Toyotomi Hideyoshi and his wife, both the design and the lacquer technique of the various works finely differ.
2) Formation of Kodai-ji makie
The Kodai-ji makie style developed from the traditional makie style and flourished throughout the Edo period.
3) Relation between Kodai-ji makie and traditional makie.
The traditional lacquer technique makie has been used to intensively decorate a limited area with luxurious materials and extreme precision. Therefore, it has not been suitable for decorating large surfaces or for mass production. The Kodai-ji makie style marked a new departure from this restriction in both technique and design.
4) Chronology
Stage I : This stage covers the period
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when the foundation of this new style was built and extends over approximately fifteen years, from around Tensho 13 (1585), when Hideyoshi gains the hegemony, to Keicho 3 (1598), the year of his death at Osaka Castle.
Stage II : Many works were manufactured in this new style, which was widely accepted. This period lasts for about twenty-five years, covering the year of Hideyoshi's death to that of his wife's death, and including the building of Kodai-ji Temple.
Stage III : The Kodai-ji makie style gradually lost its centrality as a new style, and its boundaries with the traditional makie style become indistinct again. At the same time, the tendency to return to traditional makie styles also becomes evident, starting from around the mid-17th century to around the Genroku era (1688-1704).
Based on the above-mentioned points, this study on Kodai-ji makie examined the historicity of legendary possessions of or gifts from Hideyoshi, which were made in this lacquer style. This study also accumulated and examined scientific data, focusing on the comparison of magnified images of metal grains from Kodai-ji makie examples. Less
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