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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.
Acteur de théâtre NôPériode Meiji (1868-1912)27 1/2 x 25 po(69,85 x 63,5 cm) Broderie en soie avec fil d'or et soie
Provenance
Heather James Fine Art, Californie
Ici, un acteur de théâtre Nô, vêtu d'un costume complet et portant un masque, traverse l'aile d'une scène de théâtre Nô. La scène est flanquée de pins, qui sont également un motif sur son kimono. En général, un pin est peint sur le mur arrière des scènes de théâtre Nô pour représenter l'arbre à travers lequel, selon la légende, cette forme théâtrale a été transmise du ciel à l'humanité. Dans la culture japonaise, le pin à feuilles persistantes est devenu un symbole important de longévité et de constance.

La pratique consistant à poser un fukusa sur les cadeaux placés sur des plateaux en bois ou en laque s'est largement répandue pendant la période Edo (XVIIe-XIXe siècles). Ce qui était au départ une pratique fonctionnelle visant à protéger les cadeaux des intempéries a pris une dimension décorative à part entière. Les familles aisées possédaient un grand nombre de fukusa et commandaient souvent à des artistes célèbres de l'époque
des modèles exclusifs. Les dessins étaient ensuite réalisés à l'aide de techniques telles que la teinture par nouage, le pochoir, la broderie à fentes, la tapisserie, la peinture avec broderie et des combinaisons de toutes ces méthodes. Chaque fois qu'un fukusa était nécessaire, il était choisi non seulement en fonction de l'occasion, mais aussi de la saison, du cadeau lui-même et du statut du donateur et du destinataire. Les fukusa faisaient également partie du trousseau des mariées et pouvaient être offerts à l'occasion d'un mariage. Les fukusa étaient constitués de morceaux de soie carrés ou rectangulaires, doublés et souvent ornés de pompons, et portant parfois le monogramme ou les armoiries de la famille au verso. L'étiquette voulait que les fukusa ne soient généralement pas considérés comme faisant partie du cadeau lui-même et qu'ils soient rendus en recouvrant un cadeau symbolique ou un remerciement pour le cadeau. Cependant, certains destinataires, tels que les bureaucrates, qui acceptaient des cadeaux de personnes cherchant à obtenir des faveurs, choisissaient de conserver les fukusa avec les cadeaux qu'ils recouvraient, ajoutant ainsi à leur propre réserve d'emballages cadeaux.
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