COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1984.8
amicoid
CMA_.1984.8
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Decorative Arts and Utilitarian Objects
oty
Decorative Arts and Utilitarian Objects
Object Type
false
Creator Nationality:
Asian; Far East Asian; Japanese
crc
Asian; Far East Asian; Japanese
Creator Nationality
false
Creator Dates/Places:
Japan
cdt
Japan
Creator Dates/Places
false
Creator Name-CRT:
Japan, Kamakura period
crt
Japan, Kamakura period
Creator Name-CRT
false
Title:
Jar with Scenes of Frolicking Monkeys
otn
Jar with Scenes of Frolicking Monkeys
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
1302
oct
1302
Creation Date
false
Creation Start Date:
1302
ocs
1302
Creation Start Date
false
Creation End Date:
1302
oce
1302
Creation End Date
false
Materials and Techniques:
wood, covered with hemp cloth and colored lacquer
omd
wood, covered with hemp cloth and colored lacquer
Materials and Techniques
false
Classification Term:
Lacquer
clt
Lacquer
Classification Term
false
Classification Term:
Lacquer
clt
Lacquer
Classification Term
false
Dimensions:
Diameter: 47.2cm, Overall: 49.4cm
met
Diameter: 47.2cm, Overall: 49.4cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1984.8
ooa
1984.8
ID Number
false
Credit Line:
Leonard C. Hanna, Jr. Fund
ooc
Leonard C. Hanna, Jr. Fund
Credit Line
false
Inscriptions:
Dated 1302
oin
Dated 1302
Inscriptions
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
Lacquer has been in use in Japan since at least 4000 BC when the Jomon people used it to harden and decorate weapons (arrows) and utilitarian objects (wooden serving bowls). It was extracted from the sap of the Rhus vernicifera tree, refined through evaporation and skimming, and then embellished with red and black pigments. Since this earliest period of Japanese history, the practice of producing and using lacquer objects has remained constant although developments in its manufacture and refinement, usage, and patronage have naturally fluctuated. No doubt the most profound change in the history of Japanese lacquerware occurred in the seventh and eighth centuries, when the new religion, Buddhism, had finally secured official court support for its existence. As its influence and power spread from the capital in Nara to the outlying provinces, lacquer objects and furnishings became increasingly in demand for use in temple communities. Lacquer was used to decorate room interiors, architectural fittings, furniture, musical instruments, shrines and statuary, clothes and object chests, and serving utensils. Perhaps the most desirable wares were the monochrome black, brown, or red objects used every day in Buddhist temples in the Kamakura period. Carved wood bases were coated with many successive layers of colorless lacquer, and the final applications were tinted black, and then red. Through usage, wear produced a natural surface of red and black random patterns. This large jar was formed from two pieces of wood that were turned on a lathe and then joined. The neck and base were then added and the entire vessel covered with hemp cloth to produce a smooth surface except where three bands of parallel convex lines were carved. Black and then selected areas of red lacquer were added last. Foremost among these are three linked scenes at the bottom of the jar depicting a narrative of a monkey family crossing a stream. No other example of pictorial lacquer art of a similar age and genre subject has survived in Japan. M.R.C.
cxd
Lacquer has been in use in Japan since at least 4000 BC when the Jomon people used it to harden and decorate weapons (arrows) and utilitarian objects (wooden serving bowls). It was extracted from the sap of the Rhus vernicifera tree, refined through evaporation and skimming, and then embellished with red and black pigments. Since this earliest period of Japanese history, the practice of producing and using lacquer objects has remained constant although developments in its manufacture and refinement, usage, and patronage have naturally fluctuated. No doubt the most profound change in the history of Japanese lacquerware occurred in the seventh and eighth centuries, when the new religion, Buddhism, had finally secured official court support for its existence. As its influence and power spread from the capital in Nara to the outlying provinces, lacquer objects and furnishings became increasingly in demand for use in temple communities. Lacquer was used to decorate room interiors, architectural fittings, furniture, musical instruments, shrines and statuary, clothes and object chests, and serving utensils. Perhaps the most desirable wares were the monochrome black, brown, or red objects used every day in Buddhist temples in the Kamakura period. Carved wood bases were coated with many successive layers of colorless lacquer, and the final applications were tinted black, and then red. Through usage, wear produced a natural surface of red and black random patterns. This large jar was formed from two pieces of wood that were turned on a lathe and then joined. The neck and base were then added and the entire vessel covered with hemp cloth to produce a smooth surface except where three bands of parallel convex lines were carved. Black and then selected areas of red lacquer were added last. Foremost among these are three linked scenes at the bottom of the jar depicting a narrative of a monkey family crossing a stream. No other example of pictorial lacquer art of a similar age and genre subject has survived in Japan. M.R.C.
Context
false
Related Image Identifier Link:
CMA_.1984.8.tif
ril
CMA_.1984.8.tif
Related Image Identifier Link
false