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JAPANISCHE

$9,500

KÜNSTLER BIO ANFORDERNPDF HERUNTERLADEN
 
Here, a Noh actor in full costume and mask is crossing the wing of a Noh stage. The stage is flanked by pine trees, and pines are also a motif on his kimono. Typically a pine tree is painted on the back wall of Noh stages to represent the tree through which this theatrical form was, by legend, passed down from heaven to mankind. In Japanese culture, the evergreen pine has come to be an important symbol of longevity and steadfastness.<br><br>The practice of laying fukusa over presents placed on wooden or lacquer trays became wide spread during the Edo period, (17th to 19th century). What begun as a functional practice to protect gifts from the elements, took on a decorative life of its own. Well-to-do families owned large numbers of fukusa and often commissioned famous artists of the<br>time to design exclusively for them. The drawings were then created by such techniques as tie-dying, stenciling, slit embroidery, tapestry, painting with embroidery and combinations of all methods. Each time a fukusa was required, it was chosen not only for the occasion but also for the season, the gift itself, and the status of the donor and the recipient. Fukusa were also part of the brides’ trousseau and could be given on the occasion of a wedding. Fukusa were made of square or oblong pieces of silk, lined and often embellished with tassels, and sometimes bearing the monogram or family crest on the reverse. Etiquette decreed that the fukusa were not usually to be considered part of the gift itself and were to be returned covering a token gift or an acknowledgement of the gift. However, some recipients such as bureaucrats, who accepted gifts from people currying favors, elected to keep the fukusa along with the gifts they covered, thus adding to their own store of gift covers.
Here, a Noh actor in full costume and mask is crossing the wing of a Noh stage. The stage is flanked by pine trees, and pines are also a motif on his kimono. Typically a pine tree is painted on the back wall of Noh stages to represent the tree through which this theatrical form was, by legend, passed down from heaven to mankind. In Japanese culture, the evergreen pine has come to be an important symbol of longevity and steadfastness.<br><br>The practice of laying fukusa over presents placed on wooden or lacquer trays became wide spread during the Edo period, (17th to 19th century). What begun as a functional practice to protect gifts from the elements, took on a decorative life of its own. Well-to-do families owned large numbers of fukusa and often commissioned famous artists of the<br>time to design exclusively for them. The drawings were then created by such techniques as tie-dying, stenciling, slit embroidery, tapestry, painting with embroidery and combinations of all methods. Each time a fukusa was required, it was chosen not only for the occasion but also for the season, the gift itself, and the status of the donor and the recipient. Fukusa were also part of the brides’ trousseau and could be given on the occasion of a wedding. Fukusa were made of square or oblong pieces of silk, lined and often embellished with tassels, and sometimes bearing the monogram or family crest on the reverse. Etiquette decreed that the fukusa were not usually to be considered part of the gift itself and were to be returned covering a token gift or an acknowledgement of the gift. However, some recipients such as bureaucrats, who accepted gifts from people currying favors, elected to keep the fukusa along with the gifts they covered, thus adding to their own store of gift covers. Here, a Noh actor in full costume and mask is crossing the wing of a Noh stage. The stage is flanked by pine trees, and pines are also a motif on his kimono. Typically a pine tree is painted on the back wall of Noh stages to represent the tree through which this theatrical form was, by legend, passed down from heaven to mankind. In Japanese culture, the evergreen pine has come to be an important symbol of longevity and steadfastness.<br><br>The practice of laying fukusa over presents placed on wooden or lacquer trays became wide spread during the Edo period, (17th to 19th century). What begun as a functional practice to protect gifts from the elements, took on a decorative life of its own. Well-to-do families owned large numbers of fukusa and often commissioned famous artists of the<br>time to design exclusively for them. The drawings were then created by such techniques as tie-dying, stenciling, slit embroidery, tapestry, painting with embroidery and combinations of all methods. Each time a fukusa was required, it was chosen not only for the occasion but also for the season, the gift itself, and the status of the donor and the recipient. Fukusa were also part of the brides’ trousseau and could be given on the occasion of a wedding. Fukusa were made of square or oblong pieces of silk, lined and often embellished with tassels, and sometimes bearing the monogram or family crest on the reverse. Etiquette decreed that the fukusa were not usually to be considered part of the gift itself and were to be returned covering a token gift or an acknowledgement of the gift. However, some recipients such as bureaucrats, who accepted gifts from people currying favors, elected to keep the fukusa along with the gifts they covered, thus adding to their own store of gift covers.
Noh-SchauspielerMeiji-Zeit (1868–1912)27 1/2 x 25 Zoll(69,85 x 63,5 cm) Seidenstickerei mit Gold und Seidenfäden
Provenienz
Heidekraut James Fine Art, Kalifornien
Hier überquert ein Nō-Schauspieler in voller Kostümierung und Maske den Flügel einer Nō-Bühne. Die Bühne wird von Kiefern flankiert, und Kiefern sind auch ein Motiv auf seinem Kimono. Typischerweise ist auf der Rückwand von Nō-Bühnen eine Kiefer gemalt, um den Baum darzustellen, durch den diese Theaterform der Legende nach vom Himmel an die Menschheit weitergegeben wurde. In der japanischen Kultur ist die immergrüne Kiefer zu einem wichtigen Symbol für Langlebigkeit und Standhaftigkeit geworden.

Die Praxis, Fukusa über Geschenke zu legen, die auf Holz- oder Lacktabletts platziert sind, verbreitete sich während der Edo-Zeit (17. bis 19. Jahrhundert). Was als funktionale Praxis zum Schutz der Geschenke vor Witterungseinflüssen begann, entwickelte sich zu einer eigenständigen dekorativen Tradition. Wohlhabende Familien besaßen eine große Anzahl von Fukusa und beauftragten oft berühmte Künstler der
-Zeit, exklusiv für sie zu entwerfen. Die Zeichnungen wurden dann mit Techniken wie Batik, Schablonendruck, Schlitzstickerei, Wandteppich, Malerei mit Stickerei und Kombinationen aller Methoden angefertigt. Jedes Mal, wenn ein Fukusa benötigt wurde, wurde es nicht nur für den Anlass, sondern auch für die Jahreszeit, das Geschenk selbst und den Status des Schenkenden und des Beschenkten ausgewählt. Fukusa waren auch Teil der Aussteuer der Braut und konnten anlässlich einer Hochzeit verschenkt werden. Fukusa bestanden aus quadratischen oder länglichen Seidenstücken, die gefüttert und oft mit Quasten verziert waren und manchmal auf der Rückseite das Monogramm oder das Familienwappen trugen. Die Etikette schrieb vor, dass Fukusa in der Regel nicht als Teil des Geschenks selbst betrachtet wurden und zurückgegeben werden mussten, um ein symbolisches Geschenk oder eine Danksagung für das Geschenk zu umhüllen. Einige Empfänger, wie beispielsweise Beamte, die Geschenke von Menschen annahmen, die sich damit Vorteile verschaffen wollten, entschieden sich jedoch dafür, die Fukusa zusammen mit den Geschenken, die sie umhüllten, zu behalten und so ihren eigenen Vorrat an Geschenkverpackungen zu vergrößern.
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