与秋天的草和花站在一起 - 美国大都会艺术博物馆展品查阅

品名（中）	与秋天的草和花站在一起
品名（英）	Stand with Autumn Grasses and Flowers
入馆年号	2015年，2015.300.291
策展部门	亚洲艺术（Asian Art）
创作者
创作年份	公元 1600 - 公元 1649
创作地区
分类	油漆（Lacquer）
尺寸	高 16 7/16 英寸 (41.8 厘米); 深 10 1/16 英寸 (25.6 厘米); Shelves: 高 10 英寸 (25.4 厘米); 宽 9 1/2 英寸 (24.1 厘米)
介绍（中）	这个支架可能是从一张桌子改造成茶道使用的，该桌子本来可以放在佛教绘画前面，用来盛香炉。它点缀着秋天的花朵和露珠斑驳的草，包括菊花、潘帕斯草和中国风铃草。到十六世纪末，拥有众多作坊的京都已成为日本漆器艺术最重要的中心。正是在这一刻，丰臣秀吉改变了卷绘装饰的应用方式。军事领导人下令对大型家具、家居用品和室内元素进行 maki-e 装饰——这些物品通常不值得如此豪华的处理。通过利用几种相对简单的技术，工匠们能够创造出创新、大胆的设计，而无需复杂的底图，并且可以在相对较短的时间内覆盖大面积表面。这种华丽的风格被命名为Kōdaiji，以京都的寺庙命名，该寺庙是献给秀吉和他的妻子Nene的。
介绍（英）	This stand may have been converted for use in a tea ceremony from a table that would have been placed in front of Buddhist paintings to hold incense burners. It is embellished with autumn flowers and dew-dappled grasses, including chrysanthemums, pampas grass, and Chinese bellflowers. By the late sixteenth century, Kyoto, with its numerous workshops, had become the most important center of Japanese lacquer art. It was at this moment that Toyotomi Hideyoshi changed the way maki-e decoration was applied. The military leader ordered the maki-e decoration of large furniture items, household objects, and interior elements—objects that would not normally have been worthy of such luxurious treatment. By utilizing several relatively simple techniques, craftsmen were able to create innovative, bold designs without complicated underdrawings and could cover large surfaces in a comparatively short timeframe. This flamboyant style was named Kōdaiji after the temple in Kyoto that was dedicated to Hideyoshi and his wife, Nene.