1) 稲穂図 銘 枩本光重(花押)
Design of ears of rice, signed Matsumoto Mitsushige (Kao)
寸法:縦72.0×横69.0×厚さ5.0 (mm) 

黄金色の豊かに実った稲穂を、金色絵に動きある描写で仕上げた、豊作の願いが
込められている図柄。
江戸時代後期の金工師の作であろう。保存鑑定書付。

Ears of rice which grew richly are depicted with movement finely.
This maker, Matsumoto Mitsushige is probably a metal smith around the
end of Edo period. 19c. Hozon certificate paper.


2)稲刈図 無銘
Design of rice reaping, unsigned
寸法: 左) 縦15.0 ×横47.0 (mm) 右) 縦15.0×横48.0 (mm) 

稲穂が揺れる秋の田園風景は郷愁を抱く。稲刈り図には、収穫の
感謝と翌年の豊作の願いが込められているであろう。江戸時代後期。

Since old time, harvesting rice is seasonable tradition in autumn,
and it is thought that the wish of the good harvest is put in such
the design. Circa 1800.


3) 縁頭 鶉に粟穂図
Design: Quails with Awabo, millet.
寸法:(縁) 縦38.5×横25.0×厚さ14.5 (mm) (頭) 縦33.5×横18.0×厚さ9.0 (mm)

解説:鶉(うずら)と粟穂の組合せは秋の図柄として好まれ良く描かれる。
小さい体に比べ、この鳥は大胆であり、鷹と同様に勇壮な武士に大変好まれた。
本作の鶉は愛嬌があり面白い。

江戸時代後期(19世紀)。
Design: Quails with Awabo, millet.
They are typical combination of autumn design.
Quail is a small, but is regarded as a daring bird,
and it is one of favorite bird by a heroic samurai as well as hawk.
Engaging quails are very interesting. 19th century.


4)三輪図 銘 佐野直好(花押)
Design of Mt. Miwa, signed Sano Naoyoshi (Kao)
寸法:(縁) 縦38.5×横22.5×厚さ12.5 (mm) (頭) 縦35.0×横20.0×厚さ9.0 (mm)

杉の木に糸の図は 謡曲「三輪」の図柄。大和国の女のもとに、男が長年通っていた
。女は一緒に暮らしたいと男に伝えたが断られ、縁を切られてしまう。男の帰るとこを
知ろうと衣に糸を縫い行き先を辿ると、三輪山の神木に行き着いた。
男は三輪山の明神だった、という神話。
柳川直政、中村直矩の門人で、出羽国山形藩秋元家のお抱え工。江戸芝住。
江戸時代中期。
特別保存鑑定書。

Combination of a cedar tree and thread is a design of myth of Mt. Miwa in Nara,
also a one of Noh songs.
There was a man who had been visiting a woman every night. She asked the man
to live together in the daytime as well. But he didn’t accept her wish and would
never visit her again. To know the place where he returns, she sewed a thread on
his cloths and traced him. What she found at the end was the scared tree of Mt.
Miwa. He was the deity of the mountain.
Sano Naoyoshi who is a pupil of Yanagawa Naomasa and Nakamura Naoyoshi,
worked for Akimoto family in Yamagata clan. Tokubetsu certificate paper. 18c.

5) 秋草図 銘 良親造之
    Design of autumn flowers by Yoshichika

NEW
寸法:縦64.0×横56.5×厚さ5.0 (mm) 

菊や薄などの秋草を配し、秋の深まり味わえる本作は、表を赤銅地、裏を四分一地と、色彩の異なる金属を表裏に用いて陰陽を表した昼夜造りの技巧品。
良親の高い技量が発揮されている。江戸時代後期。保存鑑定書付。

Autumn flower such a chrysanthemum and pampas grass is depicted on Chuya (day and night)
ground which is the different color metal on the front and back. And it represents the contrast
of light and dark.
This is showing high technique of the maker Yoshichika who was active in late Edo period,
probably in Mito. 19c. Hozon certificate paper.


お問い合わせはこちらから