D\u00e9cor en takamaki-e repr\u00e9sentant un aigle sur un promontoire rocheux, entour\u00e9 de v\u00e9g\u00e9tation. La t\u00eate vers le bas et les ailes \u00e0 moiti\u00e9 d\u00e9pli\u00e9es, il s\u2019appr\u00eate \u00e0 s\u2019envoler, peut-\u00eatre afin de chasser sa proie. Son \u0153il est fait d\u2019une bille de verre sur laque dor\u00e9e et noire pour la pupille, donnant \u00e0 son regard une grande intensit\u00e9. Les supports verticaux sont simplement orn\u00e9s des armoiries de la famille de Tozama Daimyo Matsura ou du clan Uda Genji, en hiramaki-e. Le kamon repr\u00e9sent\u00e9 est un Shippo avec une fleur Hanabishi. Shippomon est un motif issu du motif continu appel\u00e9 Rinchigamon. Le nom vient de l’id\u00e9e que l’anneau s’\u00e9tend dans les quatre directions, d’o\u00f9 le nom \u00ab Shiho \u00bb et \u00ab Shippou \u00bb. Dans le bouddhisme, les sept joyaux (or, argent, lapis-lazuli, agate, corail, b\u00e9nitier g\u00e9ant et cristal) qui d\u00e9corent les pagodes repr\u00e9sentent le m\u00e9rite, et donc \u00ab shippo \u00bb est \u00e9galement consid\u00e9r\u00e9 comme un symbole de bon augure. Il est largement utilis\u00e9 dans les maisons des clans Uda Genji, Matsura et Sasaki. L\u2019Hanabishi repr\u00e9sente la fleur de m\u00e2cre \u00e9galement appel\u00e9e ch\u00e2taigne d\u2019eau. Elle pousse dans les \u00e9tangs et marais japonais et est facilement reconnaissable gr\u00e2ce \u00e0 ses feuilles en forme de losanges. Ce motif appara\u00eet fr\u00e9quemment sur les tissus japonais.\u00a0<\/p>\n
Le clan Uda Genji descend de l\u2019Empereur Uda, ayant r\u00e9gn\u00e9 du 17 septembre 887 au 4 ao\u00fbt 897. Il est le p\u00e8re du prince imp\u00e9rial Atsumi (\u6566\u5be6\u89aa\u738b, Atsumi shinn\u014d) (892-966), p\u00e8re de Minamoto no Masazane (\u6e90\u96c5\u4fe1) (920-993), anc\u00eatre des Uda Genji. De nombreuses familles de samurai de la province d\u2019Omi et de la province d\u2019Izumo appartiennent \u00e0 cette lign\u00e9e et utilisent le nom de clan \u00ab Minamoto \u00bb dans les documents officiels, dont les clans Sasaki, Rokaku, Kyogoku, Kuroda ou Takaoka. Le Sasaki-Jinja (\u6c99\u6c99\u8cb4\u795e\u793e) est un sanctuaire shinto \u00e9troitement associ\u00e9 au clan.\u00a0<\/p>\n
La famille Matsura remonte au XII\u00e8me si\u00e8cle, connue en premier lieu comme famille de pirates r\u00e9guli\u00e8rement en conflit avec la Cor\u00e9e, avant que Mastura Takanobu ne soit anobli au rang de Daymio. Les armoiries figur\u00e9es sur le lutrin datant d\u2019apr\u00e8s 1689, il est envisageable de dater ce lutrin du vivant de Matsura Masashi, \u00e0 l\u2019\u00e9poque o\u00f9 la famille habitait \u00e0 Katsumoto sur l\u2019\u00eele Iki.\u00a0<\/p>\n
L\u2019int\u00e9rieur du tiroir utilise un d\u00e9cor hirameji donc de paillettes m\u00e9talliques sur laque noire, ici des paillettes de cuivre, d\u2019argent et d\u2019or, afin de cr\u00e9er une animation subtile jouant avec la lumi\u00e8re. La poign\u00e9e en laiton est tenue par une fixation repr\u00e9sentant deux oiseaux stylis\u00e9s.\u00a0\u00a0<\/p>\n
Les pins noueux sont soulign\u00e9s par des jeux sur l\u2019intensit\u00e9 du maki-e et de la feuille d\u2019or afin de varier les textures et de cr\u00e9er des volumes, relevant encore le d\u00e9cor d\u00e9j\u00e0 en relief. Au Japon, le pin (matsu) est encore le symbole d’une force in\u00e9branlable forg\u00e9e tout au long d’une vie de difficiles combats quotidiens ; symbole aussi des hommes qui ont su conserver intactes leurs pens\u00e9es, malgr\u00e9 les critiques qui les entouraient, parce que le pin lui-m\u00eame sort vainqueur des assauts du vent et de la temp\u00eate. Durant la semaine des f\u00eates du Nouvel An, les Japonais placent de chaque c\u00f4t\u00e9 de l’entr\u00e9e de leur maison deux pins, sensiblement de la m\u00eame grandeur. C’est une tradition shinto\u00efste qui veut que les divinit\u00e9s (Kami) vivent dans les branches des arbres. Ils sont souvent entour\u00e9s d’un shimenawa. Il y a une po\u00e9sie japonaise tr\u00e8s connue, dr\u00f4le et ironique, sur ces pins jumeaux : Tatsi wakare Ina-ba-no yama-no mine-ni \u00f4ru,\u00a0
Matsu-to si kikaba ima kaheri-kom.\u00a0<\/p>\n
\u00ab\u00a0Apr\u00e8s que je t\u2019aurai quitt\u00e9e, si j\u2019apprends que tu m\u2019attends sur le pic de la montagne du pays d\u2019Inaba, o\u00f9 croissent les pins, alors je reviendrai sur-le-champ. \u00ab\u00a0<\/p>\n
Ce pic ferait r\u00e9f\u00e9rence au sommet de l\u2019actuel mont Kinka.\u00a0<\/p>\n
L\u2019aigle est consid\u00e9r\u00e9 au Japon comme le roi des oiseaux. Les plumes de sa queue sont r\u00e9put\u00e9es\u00a0 \u00a0\u00eatre les meilleures plumes pour une fl\u00e8che. Il est dit que celles-ci ont \u00e9t\u00e9 offertes \u00e0 la Cour imp\u00e9riale et au sanctuaire d\u2019Ise (pr\u00e9fecture de Mie), un des lieux les plus sacr\u00e9s du shinto\u00efsme. Capable de s’\u00e9lever au-dessus des nuages et de fixer le soleil, l\u2019aigle est universellement consid\u00e9r\u00e9 comme un symbole \u00e0 la fois c\u00e9leste et solaire, les deux aspects pouvant d’ailleurs se confondre. Au Japon, le Kami dont le messager ou le support est un aigle est d\u00e9nomm\u00e9 Aigle du c\u00e9leste soleil. L’aigle est devenu le substitut du soleil dans la mythologie asiatique et nord-asiatique ; il en va de m\u00eame dans les mythologies am\u00e9rindiennes.\u00a0<\/p>\n
Le kendai est un support pour la lecture de livres, po\u00e8mes ou partitions de musiques. Son existence est attest\u00e9e depuis la p\u00e9riode Nara (710-794).\u00a0<\/p>\n
D\u00e9velopp\u00e9e au cours de la\u202fp\u00e9riode Muromachi (1336-1573), le\u202ftakamaki-e\u202f(ou \u00ab\u202fmaki-e\u202fsur\u00e9lev\u00e9\u202f\u00bb) est l’une des trois techniques principales de la fabrication du\u202fmaki-e. Cette technique consiste \u00e0 cr\u00e9er des motifs au-dessus de la surface pr\u00e9alablement laqu\u00e9e au moyen d\u2019un m\u00e9lange de poudre de m\u00e9tal, de laque, de charbon de bois ou de poussi\u00e8re d\u2019argile.\u00a0<\/p>\n
Japon – Ere Meiji (1868-1912)<\/strong><\/p>\n Hauteur : 51 cm – largeur : 44 cm – profondeur : 28 cm.\u00a0<\/p>\n The piece features a takamaki-e (raised maki-e) design depicting an eagle perched on a rocky outcrop, surrounded by vegetation. With its head lowered and wings half-unfolded, the eagle appears poised to take flight\u2014perhaps in pursuit of its prey. The eye is rendered with a glass bead set over gold and black lacquer for the pupil, giving it a striking, lifelike intensity. The vertical supports are simply adorned with the family crest (mon) of the Tozama Daimy\u014d Matsura clan or Uda Genji clan, rendered in hiramaki-e.\u00a0 The emblem depicted is a Shippo with a Hanabishi flower.\u00a0 The Hanabishi represents the flower of the water caltrop, also known as the water chestnut. It grows in Japanese ponds and marshes and is easily recognizable by its diamond-shaped leaves. This motif frequently appears in traditional Japanese textiles.\u00a0<\/p>\n The Uda Genji clan descends from Emperor Uda, who reigned from September 17, 887 to August 4, 897. He was the father of Imperial Prince Atsumi (\u6566\u5be6\u89aa\u738b, Atsumi shinn\u014d) (892\u2013966), who fathered Minamoto no Masazane (\u6e90\u96c5\u4fe1) (920\u2013993), the ancestor of the Uda Genji line. Many samurai families from the \u014cmi and Izumo provinces belong to this lineage and use the Minamoto clan name in official documents, including the Sasaki, Rokaku, Kyogoku, Kuroda, and Takaoka clans. The Sasaki-jinja (\u6c99\u6c99\u8cb4\u795e\u793e) is a Shinto shrine closely associated with the clan.\u00a0<\/p>\n The Matsura family dates back to the 12th century, originally known as a seafaring clan often engaged in conflict with Korea. The family rose to prominence when Matsura Takanobu was elevated to the rank of Daimy\u014d.\u00a0<\/p>\n The crest depicted on this reading stand (kendai) dates from after 1689, suggesting it could be attributed to the lifetime of Matsura Masashi, during the period when the family resided in Katsumoto, on Iki Island.\u00a0<\/p>\n The interior of the drawer is decorated in hirameji\u2014a technique using metallic flakes (here copper, silver, and gold) on black lacquer, producing a subtle shimmer that plays with the light. The brass handle is secured with a fitting in the shape of two stylized birds.\u00a0<\/p>\n The gnarled pines are highlighted through varied applications of maki-e and gold leaf, creating shifts in texture and volume that enhance the relief of the composition. In Japan, the pine tree (matsu) symbolizes unwavering strength, earned through a life of daily challenges. It is also seen as a metaphor for those who remain true to their convictions despite criticism\u2014just as the pine withstands wind and storm. During New Year celebrations, Japanese households traditionally place two pines of equal height at their entrance, following a Shinto custom that invites the kami (deities) to dwell within their branches. As an evergreen tree, the pine is favored for this purpose and is often adorned with a shimenawa (sacred rope). A well-known, humorous Japanese poem pokes fun at these \u201ctwin pines.\u201d\u00a0\u00a0<\/p>\n Tatsi wakare Ina-ba-no yama-no mine-ni \u00f4ru,\u00a0 \u00ab\u00a0After I have left you,\u00a0 The eagle is revered in Japan as the king of birds. Its tail feathers are considered the finest for crafting arrows and are said to have been offered to the Imperial Court and to the Ise Shrine (Mie Prefecture), one of Shinto\u2019s most sacred sites. Capable of soaring above the clouds and gazing directly at the sun, the eagle is universally regarded as both a celestial and solar symbol. In Japan, a kami associated with or represented by an eagle is called the \u00ab\u00a0Eagle of the Celestial Sun.\u00a0\u00bb Across Asian and North Asian mythology, as well as among Native American traditions, the eagle often serves as a surrogate for the sun itself.\u00a0<\/p>\n The kendai is a traditional stand used for reading books, poetry, or musical scores. Its use is documented as early as the Nara period (710\u2013794).\u00a0<\/p>\n Developed during the Muromachi period (1336\u20131573), takamaki-e (\u00ab\u00a0raised maki-e\u00a0\u00bb) is one of the three main techniques of maki-e decoration. It involves building up patterns above the lacquered surface using a mixture of metal powder, lacquer, charcoal, or clay dust.\u00a0<\/p>\n Japan – Edo era (1603-1868)<\/strong><\/p>\n Height : 51 cm – width : 44 cm – depth : 28 cm. \u00a0<\/p>\n","protected":false},"excerpt":{"rendered":" Lutrin (kendai, ou bureau de lecture) en bois et laque avec un tiroir au pied.<\/p>\n Wood and lacquer reading stand (kendai) with a drawer at the base.<\/p>\n","protected":false},"featured_media":15850,"template":"","meta":[],"product_brand":[],"product_cat":[281],"product_tag":[],"class_list":{"0":"post-15862","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-tiago","7":"description-off","9":"first","10":"instock","11":"shipping-taxable","12":"product-type-simple"},"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product\/15862","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/types\/product"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/media\/15850"}],"wp:attachment":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/media?parent=15862"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_brand?post=15862"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_cat?post=15862"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_tag?post=15862"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\u00a0The Shippomon (Shippo pattern) originates from a continuous design called Rinchigamon. The name \u00ab\u00a0Shippo\u00a0\u00bb (or \u00ab\u00a0Shiho\u00a0\u00bb) comes from the idea that the circular ring extends in four directions. In Buddhism, the Seven Treasures (gold, silver, lapis lazuli, agate, coral, giant clam, and crystal), which adorn pagodas, symbolize virtue. Therefore, \u201cshippo\u201d is also regarded as an auspicious symbol. It is widely used in the houses of the Uda Genji, Matsura, and Sasaki clans.\u00a0<\/p>\n
Matsu-to si kikaba ima kaheri-kom.\u00a0\u00a0<\/p>\n
\u00a0if I hear you are waiting for me\u00a0
\u00a0on the mountain peak\u00a0
\u00a0of Inaba, where the pines grow,\u00a0
\u00a0I shall come back to you at once.\u00a0\u00bb\u00a0<\/p>\n