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A RED AND BLACK TIXI LAQUER SHALLOW CIRCULAR BOX AND COVER 剔犀如意纹香盒 China, Yuan dynasty deeply carved through multiple thick alternating layers of black and cinnabar-red lacquer. The decoration is confined to the cover and the side of th
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06月24日 晚上6点 开拍 /3天5小时
拍品描述 翻译
A RED AND BLACK TIXI LAQUER SHALLOW CIRCULAR BOX AND COVER 元代 剔犀如意纹香盒 China, Yuan dynasty deeply carved through multiple thick alternating layers of black and cinnabar-red lacquer. The decoration is confined to the cover and the side of the base, carved in a continuous band of large ruyi scrolls and fluid, swirling classic motifs, revealing the stratified lacquer layers beneath. The interior and recessed base are finished in dark brown lacquer. with a Japanese wooden box D.12cm - H. 3.6cm Note Tixi is one of the traditional Chinese lacquer carving techniques. Its early form already appeared in the Tang dynasty, it was standardized in the Song dynasty, and reached its peak in the Yuan dynasty, with the works of Zhang Cheng and Yang Mao being the most outstanding. The technique continued to develop through the Ming and Qing dynasties and is now recognized as a national intangible cultural heritage of China. The process involves repeatedly applying alternating layers of black and red natural lacquer to build up a thick lacquer body, which is then carved with a slanting knife into scrolling patterns such as cloud motifs and hui (key-fret) designs. The cross-section reveals alternating layers of black and red, resembling the cut surface of rhinoceros horn, hence the name tixi (“carved rhinoceros”). The process is extremely labor-intensive, requiring great precision in both lacquering and carving. Tixi lacquerware combines technical difficulty with high artistic refinement and represents one of the most important achievements of traditional Chinese lacquer art. During the Song and Yuan periods, the technique and aesthetic were transmitted to Japan, where it became known as “kutsuwa” and later profoundly influenced Japanese lacquer traditions and the development of Kamakura-bori carving. It also became part of the prized “Tang objects” in Japanese tea culture and a key source for the localization of lacquer techniques in Japan. In the early 20th century, the flowing geometric scroll patterns, vivid red-and-black contrasts, and refined tactile quality of tixi provided important Eastern inspiration for the European Art Nouveau movement, contributing to its development of decorative linear rhythm, luxurious surface treatment, and exotic aesthetic sensibilities. This influence can also be seen in a glass vase by émile Gallé (inventory no. OAO 1612) in the Musée d’Orsay, where layered cameo glass carving creates swirling, rhythmic textures and stratified visual depth, echoing the layered aesthetics and linear dynamism of tixi. 剔犀为中国传统雕漆工艺之一,唐代已有雏形,宋代工艺定型,元代达至高峰,以张成、杨茂作品最为杰出,明清延续发展,现为国家级非物质文化遗产。其工艺以黑红两色大漆交替反复髹涂,形成厚实漆层,再以斜刀剔刻云纹、回纹等回转纹样,断面呈现黑红相间的层线,状如犀角截面,故名剔犀,工序繁复耗时极长,对髹涂与雕刻要求严苛。剔犀兼具工艺难度与艺术格调,是中国漆器技艺的重要代表,体现了传统髹饰工艺的高度成就。其工艺与美学于宋元时期传入日本,被称为 “屈轮”,深刻影响了日本雕漆与 “镰仓雕” 发展,成为日本茶道 “唐物” 珍品与漆艺本土化的关键养分;20 世纪初,剔犀流畅的几何回旋纹样、朱黑对比色彩与温润质感,又为欧洲 Art Nouveau 新艺术运动提供了东方形式灵感,助力其几何线条、奢华质感与异域美学风格的形成,这种影响亦体现在法国奥赛博物馆藏埃米尔?加利(Gallé Emile)编号 OAO 1612 的玻璃花瓶中,作品以多层套色玻璃雕刻出回旋流转的纹理与层次,借鉴了剔犀的层叠美学与线条韵律。
Condition:There is a c. 1 cm loss along one of the ruyi scroll lines on the exterior of the cover. The brown lacquer surface on the interior of the cover shows age-related lifting and slight flaking.

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