User:Bamse/List of National Treasures (crafts-others)

general intro

• some craft techniques imported from china, some originated in Japan
• national treasures are either chinese (korean) in origin (i.e. chinese style), or Japanese adaptions of chinese objects...

generic blabla

• when (period)
• chinese or japanese
• what used for

links

general reference for all

• [1] (at least lacquer and pottery)

others

[2] [3] [4] [5]

[6] [7] [8]

Lacquer

general

Japanese lacquerware has a long history reaching back to the Jōmon period, due to both its decorative value and its quality as protective finish. Initially lacquer had been employed to enhance properties of utilitarian objects such as watertight drinking vessels, cooking and household goods. The oldest extant decorated item dates to the 6th century and in the medieval and early modern period lacquer has been used in the manufacture of many different kinds of products such as toiletry boxes, inkstone cases, eating utensils, plates, bowls, containers, furniture, saddles, stirrups or armour.

Lacquerware is produced in a three-step process: first the base is prepared. Most often this is wood, but it can also be made of paper or leather. This is followed by the application of lacquer which hardens while drying sealing the base. Generally several layers of lacquer are applied. At the end the lacquer is decorated with a variety of methods. In the maki-e technique, a powdered metal (usually gold or silver) is sprinkled on the lacquer before it is completely hardened. This technique was developed and popular in the Heian period but continued to be used with refinements into the early modern period. Over the next centuries various other methods that employ precious metals were developed such as the ikakeji technique originating in the Kamakura period in which a finely ground gold powder is spread in sufficient quantities to mimic solid gold. The use of metallic powders was complemented with other techniques such as polished shell inlay or gold leaf (kirikane). The former was used in the Heian and Kamakura periods and popular motives included water, rocks, trees or flowers. Starting with the Kamakura period larger and more solid objects such as toiletry chests were decorated with realistic images. Towards the end of the medieval period (late 16th century) simpler designs were favoured in decorations. Honami Kōetsu who lived around this time is the earliest lacquer artist known by name. Japanese lacquerwork reached its apogee in the 17th century Edo period when lacquer was used for decorative objects as well as everyday items such as combs, tables, bottle, headrests, small boxes or writing cases. The most famous artist of this time was the lacquerer painter Ogata Kōrin. He was the first to use mother of pearl and pewter in larger quantities for decorating lacquerware.

• used in manufacture of many different kinds of products in medieval and early modern period such as: toiletry boxes, inkstone cases, eating utensils, plates, bowls, containers, furniture, saddles, stirrups, armour
• popularity and long history of lacquerware in japan due to decorative value/beauty as well as quality as protective finish

• lacquerware produced since Jomon period
• lacquerware was used and made for a long time before medieval period
• might have been introduced from China/Korea
• at first lacquer use was purely utilitarian (watertight drinking vessels, cooking and household utensils)
  • oldest extant decorated items from 6th and 8th century
• while other countries make lacquer ware, the art has been brought to perfection in japan

• production of lacquerware is three-step process: 1.) base is created from a material such as wood (usually), paper or leather; 2.) application of lacquer which when hardened seals the base inside; 3.) decoration of hardened lacquer surface

• various methods of decoration:
  • maki-e:
    • =sprinkled picture; powdered metal such as gold and silver was sprinkled over lacquer before it had completely hardened
    • popular in heian period; with refinements also used in medieval and early modern period; continued into kamakura and muromachi period
  • ikakeji:
    • =gold ground; finely ground gold powder sprinkled in sufficient quantities to mimic appearance of solid gold
    • since kamakura period
  • polished shell inlay:
    • in heian period, continued in kamakura p.
    • motifs during medieval period: water, rocks, trees, flowers
  • nashiji:
    • looks like spotted rind of a pear (nashi)
    • made of gold, gold and silver or pure silver

• in kamakura period:
  • larger and more solid objects (such as toiletry chests) decorated with more realistic images
  • use of metallic powders was complemented by gold leafs (kirikane)

• new types of lacquerware introduced in medieval period such as negoro-nuri and kamakura-bori and chinkin
• by end of medieval period and into early modern p. aesthetics had moved from ornate maki-e to simpler designs such as kodaiji maki-e or koetsu lacquerware; during momoyama period trend was towards plainer decorations
• earliest lacquer artist whose name is known is Honami Kōetsu who introduced lead, tin, mother of pearl

• edo period:
  • lacquerwork reached apogee in Tokugawa (=Edo) period (17th century)
  • proliferation of, lacquer applied to all sorts of objects of utilitarian type
  • in early modern period lacquerware demand had proliferated and it came to be used for decorative objects as well as everyday items (combs, tables, bottles, headrests, small boxes, writing cases, smoking kits)
  • most famous lacquer artist: Ogata Kōrin (also painter):
    • first to use mother of pearl and pewter to any great extent in decoration

Harnesses

• [9] (p. 155ff)

weaving

• 2 mandala, 2 kesa (monk's robes), 1 brocade, 1 embroidery with shaka, 1 set of garments (sacred treasures)
• [10]

Sewing, and a little later weaving, was first introduced to Japan from Korea by the late 3rd century. Early textiles were made of simple twisted cords from wisteria, mulberry, hemp or ramie fibres. Following a gift of silk clothes and silk worms from the Chinese court, the Japanese court started to support textile and silk production from the 4th century onward. Chinese and Korean weavers were encouraged to exhibit their fabrics bringing new techniques such as those used to make brocades or delicate silk gauzes. In the 8th century Nara period, Japanese weavers employed a variety of techniques such as tie-dyeing, stenciling, batik, embroidery. They skillfully imitated continental weaves including rich damasks, many types of brocades and woven chiffon-like gauzes. Due to a general change in aesthetics in the Heian period weaving and dyeing techniques became less varied with brocades having fewer colors, smaller designs and less elaborate gauzes. The Japanese aristocracy preferred plain silks over woven or dyed designs. A total of seven National Treasures have been designated in the weaving and dyeing category including: two mandalas, two monk's surplices or kesa, one brocade, one embroidery with a Buddhist motif and a set of garments presented to a shrine.

• sewing introduced from korea by late 3rd c.; little later weaving introd.
• manufacture of textiles began with weaving of simple twisted cords from wisteria and mulberry fibres with hemp and ramie grass
• gift of silk clothes and silk worms from chinese court spurred development of Japanese silk; from 4th century Japanese court supported textile and silk production and encouraged weavers from china and Korea to exhibit their latest fabrics
• many new innovations came from china+korea: such as those used to make brocades or delicate silk gauzes
• during nara period the japanese began using a variety of stamp-applied, wax-resistent dyed fabrics and embroidery techniques (all originally from china)
• in 8th century Japanese had mastered: tie-dyeing, stenciling, batik techniques and skillfully imitated continental weaves (including rich damasks, many types of brocades, intricately woven chiffon-like gauzes)

• by beginning of heian period, the japanese had refined their artistic style and favoured plain silks over woven and dyed designs
• Heian textiles versus 8th century textiles:
  • weaving and dyeing techniques were less varied
  • brocades employed fewer colors, smaller designs, less elaborate gauzes; damasks below Nara period standards
  • changes were response to changing aesthetics

armour

Armour has been employed in battles in Japan since the Yayoi period. Some of the oldest extant items from the 4th–7th centuries were excavated from kofun and have been designated as archaeological national treasures. These ancient armours were of two types: a tight fitting solid plate cuirass (tankō) and a skirted lamellar type (keikō) both thought to be based on Chinese or Korean prototypes. This list contains more recent items of armour that are a Japanese development and a result of a trend towards scale (lamellar) armour that started in the 6th–7th centuries and reached maturity around the mid-Heian period (9th–10th centuries). Combining materials such as leather and silk with iron or steel parts, these armours had the advantage of being light, flexible, foldable and shock absorbent. They were generally lacquered to protect them from the humid climate and were used widely from the late Heian period to the mid 14th century. A complete set would consist of: a helmet, mask, neck guard, throat protector, breastplate with shoulder guards, sleeve armour, skirt, greaves, shoes and a pennant attached to the back.

During this time, there were two popular kinds of armour: the ō-yoroi (lit. "great armour") with a boxlike appearance mainly worn by high ranking samurai on horseback and the lighter and more flexible dō-maru that wrapped around the body and was initially worn by lower ranking foot soldiers. The ō-yoroi was made of leather and iron lames bound together in horizontal layers, ornamented and reinforced with leather, silk and gilt metal. It originated around the 10th century but was only commonly used starting with the Genpei War at the end of the 12th century. Being the most complete and elaborate Japanese armour, it was also worn for ceremonies. The tighter fitting dō-maru on the other hand appeared in the 11th century, was generally made of a combination of leather and metal and did not include a solid breastplate or sleeves. In many cases its armour plates were replaced with scales of metal, leather or whalebone laced together with silk or leather cords. Even though it was a plainer armour compared to the ō-yoroi, upper class samurai started to adopt it around around 1300, as battles began to be fought on foot favouring a more comfortable suit.

Yoroi

• complete set consisted of: helmet, mask, protector for nape of neck/neck guard, throat protector, breastplate/torso plate with shoulder pads/guards, sleeves in coat of mail/sleeve armour, skirt (four parts in back three in front)/armoured apron protecting thighs, thigh protectors or greaves or shin guards, shoes; pennant attached to back
• production details:
  • components made of several metal plates laced together with leather cord
  • tight elaborate lacing for high ranking samurai, wide lacing for lower ranked samurai
  • lacing colors and patterns often indicated which clan a samurai belonged to???
  • plates covered in protective coating such as lacquer to protect from rusting
  • tied together horizontally with silk cords

*be it metal or leather, most Japanese armour was lacquered even from earliest days (as protection from humid climate)

• from its inception Japanese armour was far lighter and more flexible than european counterparts; it incorporated lighter and more mallable materials such as leather, silk or other fibres along with iron or steel parts
• advantages (light, flexible, shock absorbent, foldable,...) of armour composed of lames covered with lacquer and using a combination of materials contributed to widespread use of this type of armour from late heian period to mid 14th century

• yoroi=armour term adopted in 923
• armour existed in yayoi period; it was likely similar to that of the oldest extant armour discovered in 4th-7th century kofuns
  • armour of kofuns is of two types: i) tight fitting solid plate cuirass (tankou=lit. "short shell") and ii) skirted cuirass of lamellar construction (keikou = "hanging shell"); both thought to be based on mainland prototypes
  • scale armour began to dominate in 6th-7th centuries and evolved through the 8th century; descendant of wrap-around keiko with opening under right arm (...domaru) appeared
• with flow of Chinese and Korean culture in 5th and 6th centuries, horse and lamellar armour were introduced to Japan;
  • lamellar armour was called keikou and quickly took on Japanese character being adapted to the form of the earlier tankou

• most armour created primarily with practical considerations in mind; but also served ceremonial function
• earliest armour were tankou and a development in iron from primitive helmets and cuirasses of bamboo and hide

• in 9th and 10th c. mid-heian period, two distinct styles of armour: i) ("domaru") for foot soldiers evolved from lamellar cuirass of coat form; ii) (Oyoroi) horsemen's armour developed from later lamellar armour with separate side plates
• transition from early lamellar armours to archetypical Japanese o-yoroi around mid to late heian period (when noble warrior families became powerful and priviliged->several hundred years of internal warfare -> demand for armour); new technique was to lace the lamellae first and then lacquer (before opposite order was used)

O-yoroi

• o-yoroi= "great armour" first appeared around 10th century but only commonly used armour starting with the Genpei War when call for armour was at peak
• ceremonial armour
• usually of a type much earlier than the time it was worn
  • for instance worn by daimyo on annual visit to the shogun's court during tokugawa period
  • most complete and elaborate armour ever worn in Japan
• boxlike appearance, worn by mounted samurai
• during 1300s battles began to be fought on foot -> oyoroi replaced with other types of armour because it was too heavy and difficult to move in
• oyoroi was principal form of armour in medieval era
• cube like form, entire ensemble hung from shoulders
• construction:
  • constructed of leather and iron lames bound together in horizontal layers
  • ornamented and reinforced with leather, silk and gilt metal

Do-maru

• first appeared in 11th century as lower class armour for foot soldiers
• appeared early in Nara period, well before oyoroi (but in earliest types regarded as variation of keikou armour)
• do-maru=side opening corselet with its taces
• made of several plates (breastplate, backplate, left side plate, right side plate in halves)
  • in many cases scales of metal, leather or whalebone laced together with silk (or leather?) cords were used instead of plates
• wrapped around body; lighter and more flexible than oyoroi

• possibly older than oyoroi but at that time only worn by rōnin; when hand to hand combat began to take place also adopted by samurai
• worn well into the 1500s
• often made from combination of leather and metal
• tighter fitting than oyoroi; lighter than other armours and closer fitting to body therefore easier to move and fight in
• plainer armour than oyoroi, but from about Gempei war on even upper class started to wear it due to ease of wear and comfort
• from late kamakura period
• originally worn by foot soldiers, from first half of 14th century worn by men of all ranks; gained in popularity as more and more actions were fought on foot

Kote

• = "basket sleeves"; worn since earliest days but form changed considerably
• modern style kote first in early heian period; they resembled bags
• initially more useful for tucking away the sleeves of the armour robe out of the way of the bowstring than as defence -> only one worn; pairs were worn only after Gempei wars, when hand to hand combat began to occur regularly

• [11]

metalwork

mirror icons

• [12], [13], [14]

mirrors

• [15]

temple bells

• [16], [17], [18]

pottery

• green glaze, 12th (Japan)
• shino, Momoyama (Japan) [19], [20], [21]
• tenmoku, 12th-13th (China) [22]
• celadon, 12th-14th (China)
• raku, 17th (Japan) [23], [24]
• iroe, 17th (Japan)
• ido chawan, 16th (Korea)

1. Pottery goes back to Jomon period .... some of oldest...
2. Although a three-color lead glaze technique was introduced to Japan from the Tang Dynasty of China in the 8th century, official kilns produced only simple green lead glaze for temples in the Heian period, around 800–1200 AD. Until the 17th century, unglazed stoneware was popular for the heavy-duty daily requirements of a largely agrarian society; funerary jars, storage jars, and a variety of kitchen pots typify the bulk of the production.
3. From the middle of the 11th century to the 16th century, Japan imported much Chinese celadon, white porcelain, and blue-and-white ware. Japan also imported many Korean pottery and Thai and Vietnamese ceramics. These Chinese and Korean ceramics were regarded as high-class items, which the upper classes used in the tea ceremony. The Japanese ordered ceramics custom-designed for Japanese tastes from Chinese kilns. In late 16th century, leading tea masters changed the style and favored the simpler Korean tea bowls and domestic ware over the Chinese
4. Patronized by the tea master Sen no Rikyū, the Raku family supplied glazed earthenware tea bowls
5. In 17th century, in Kyoto, then Japan's cultural capital, kilns produced lead-glazed pottery like the pottery of southern China

buddhist metal items

• 5 gongs (4 gongs + 1 gong stand)
• 1 finial of a pilgrim's staff
• 6 hoto pagoda/reliquary
• 1 bowl for offerings
• 1 keko flower baskets
• 2 Ritual Objects of Esoteric Buddhism
• 1 sutra container
• 1 banner
• 1 incense burner

Bibliography

• Bryant, Anthony J.; McBride, Angus (1991-05-23). Early Samurai: 200-1500 AD. Osprey Publishing. ISBN 9781855321311.{{cite book}}: CS1 maint: ref duplicates default (link)
• Dick, Stewart (1906). Arts and crafts of old Japan. T. N. Foulis. Retrieved 2010-12-04.{{cite book}}: CS1 maint: ref duplicates default (link)
• Dresser, Christopher (2009-02-05). Japan - Its Architechure, Art and Art Manufactures. READ BOOKS. ISBN 9781443790994. Retrieved 2010-12-04.{{cite book}}: CS1 maint: ref duplicates default (link)
• Habu, Junko (2004). Ancient Jomon of Japan. Case studies in early societies. Vol. 4 (illustrated ed.). Cambridge University Press. ISBN 0521776708. Retrieved 2010-03-19.{{cite book}}: CS1 maint: ref duplicates default (link)
• Hall, John Whitney; Shively, Donald H.; McCullough, William H. (1999). The Cambridge History of Japan: Heian Japan. Cambridge University Press. ISBN 9780521223539.{{cite book}}: CS1 maint: ref duplicates default (link)
• Huish, Marcus B. (1 October 2008). Japan and Its Art. READ BOOKS. ISBN 9781443771948. Retrieved 2 December 2010.{{cite book}}: CS1 maint: ref duplicates default (link)
• Inc Icon Group International (2008). Armor: Webster's Quotations, Facts and Phrases. ICON Group International. ISBN 9780546663167.
• Park, Louise; Love, Timothy (2009). The Japanese Samurai. Marshall Cavendish. ISBN 9780761444480.{{cite book}}: CS1 maint: ref duplicates default (link)
• Robinson, H. Russell (2002-02-29). Oriental Armour. Courier Dover Publications. ISBN 9780486418186. {{cite book}}: Check date values in: |date= (help)
• Stone, George Cameron (1999-07-02). A glossary of the construction, decoration, and use of arms and armor in all countries and in all times: together with some closely related subjects. Courier Dover Publications. ISBN 9780486407265.{{cite book}}: CS1 maint: ref duplicates default (link)