by BAN’URA Hajime (b.1966)
Reiwa 4, 2022
Silver makie, kawari nuri techniques
51.5 x 3.5 x 3.5 cm, 40 x 3.2 x 3.2 cm.
Signed
Signed & sealed tomobako
The hanging flower vase is a central part of the Tea Ceremony, chanoyu, and is hung in the tokonoma. Its form is thought to have been favoured and promoted by tea master Sen no Rikyu in the 16th century.
Viewing these two examples – rusting iron spikes, with the remains of fine silverwork depicting the classic combination of dragon and phoenix – it is not difficult to sense that they come to us from centuries buried in the ground. However, we have been deceived by contemporary work that uses lacquer techniques in replication of metalwork. The textures and colours are perfect. and are the work of lacquer artist Banura Hajime, the grandson of the acclaimed lacquerist Ban’ura Shogo (1901-81), a major figure in 20th-century lacquer arts.
The exploitation of lacquer to mimic a range of materials – woods, metals, ceramics – has a long history. As seen in these pieces, the results can be extraordinary. They play with our senses and expectations and touch on humour to surprise and intrigue.
The mythical dragon (male) and phoenix (female) are closely associated with the Imperial regime, and are thought to appear only in peaceful and prosperous times to herald a new era. It is appropriate that the early years of the Reiwa period should be visited in this way, even in the form of a reminder of previous golden ages.
Ban’ura Hajime is the grandson of the acclaimed lacquerist, Ban’ura Shogo (1901-81), a major figure in 20th-century lacquer arts. Born in Uji City, Kyoto Prefecture, he graduated from the Lacquer Department of Kyoto City Senior High School Of Arts in 1985 and the Japanese Painting Department, Kyoto College of Art in 1988. First apprenticed to his uncle, Ban’ura Kо̄zо̄, Hajime became independent in 1995, and subsequently received the title of Kyo-shikki Dentо̄ Kо̄gei-shi, Master of Traditional Kyoto Lacquerware, in 2012. His work has gathered many awards, including the Grand Prize at the Uruoi Urushi Exhibition in Kyoto, 2009, the Mayor’s Award at the annual Kyoto Lacquer Exhibition of 2012, 2013, and 2022, and the Jury Chairman’s Award at the same exhibition in 2011 and 2021.