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A STONEWARE CHAWAN (TEA BOWL) WITH KINTSUGI (GOLD-LACQUER) REPAIRS Edo period (1615-1868), 18th century
纽约
2022年03月23日 开拍 / 2022年03月21日 截止委托
拍品描述
Edo period (1615-1868), 18th century
The Karatsu ware bowl of kutsugata (shoe-shaped) form set on a ring foot decorated in a greenish gray glaze, the broken shards mended with gold lacquer
With a wood tomobako storage box
5 5/8in (14.3cm) diameter, at widest The term used to describe the technique utilized in the above lot, as well as the subsequent three, kintsugi (literally "patched with gold"), does not tell the whole story of how these vessels were restored to functionality and greater beauty. Although gold dust is indeed mixed into the surface of the outer-facing layers, the core of the repair is secured with urushi, treated, dyed and dried sap of Toxicodendron vernicifluum or related trees, applied in several coats, and typically mixed with rice glue or flour glue. The gold powder, applied in the final stage of the repair process, is not necessary to successfully make the vessel watertight, and there are examples of pottery simply showing the seams of the repair in lacquer that has been colored black or red. However, the kintsugi finish has become the most well-known due to the influence of chanoyu, the "tea ceremony," on the Japanese aesthetic sense. Many stories exist that showcase how tea aficionados, as far back as the seventeenth century, came to appreciate a vessel repaired with gold lacquer after intentional or accidental breakage, when the vessel in its original form had not inspired any significant aesthetic response.
When contemplating a vessel repaired with kintsugi, several aesthetic considerations come into play. The first is the recognition that many ceramics, especially those used in chanoyu, often have a lineage of owners, or a distinguished provenance, and the act of repair allows that act of passing down the object to continue past the generation when the damage occurred. Another is that a given vessel, having been handmade, can never be perfectly reproduced or replaced, and so repair is preferable to losing the object completely. A third, and perhaps the most difficult to describe in words, are the Japanese concepts of wabi and sabi, the former an appreciation of poverty, an undemanding nature, and imperfection, and the latter a recognition that things change over time, often in the direction of altered patina or decay. It is these concepts that allow the damage that an object has sustained to be highlighted with gold, emphasizing the repair rather than trying to hide it. Finally, while aesthetic considerations are key in the use of gold in a kintsugi repair, the restoration of the object to usefulness, returning the vessel to functionality as a bowl, cup, or plate, in the case of these lots, is the driving force behind this act. The desire to be able to use the object again, even when the remaining fragments are not enough to return the vessel to a complete form, can result in the use of the yobitsugi (borrowed patched) technique, where pieces from a different vessel are incorporated into the repair of another. All of the above factors give these pieces a new, and even increased, value, in the eyes of those who appreciate the renewed beauty that kintsugi bestows.
For further reading about kintsugi please see, Flickwerk: The Aesthetics of Mended Japanese Ceramics, the catalogue that accompanied the exhibition held at the Cornell University Herbert F. Johnson Museum of Art in Ithaca, New York from June 28 to August 10, 2008.

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拍品估价:1,200 - 1,800 美元 起拍价格:1,200 美元  买家佣金:
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