As part of our Japanese works of art collection we are delighted to offer this remarkable condition Late Edo/ Meiji Period (1615-1868/1868-1912) matched suite of lacquer consisting of a Suzuribako writing box and Bunko document box, each contained within their individual tomobako storage boxes. The sumptuous decoration depicts scenes of the Sumiyoshi Shrine delicately worked in various lacquer techniques including takamaki-e, hiramaki-e and nashiji against a roiro ground, the interior of the suzuribako depicts cranes amidst rushes at the waters edge , the rims of each box silver lined, the storage boxes each inscribed Sumiyoshi Makie in gold script.
Literature :
It is likely that these were made on commission as a gift to celebrate a wedding or blessing for longlife, usually commissioned by the nobility or wealthy industrialists.
About “Sumiyoshi makie”:
Sumiyoshi Makie (すみよしまきえ) A type of makie decorative design. It depicts the torii gate, drum bridge, pond, and shrine buildings of Osaka’s Sumiyoshi Shrine, with pine trees arranged around them. From the Momoyama period onward, this motif—derived from classical court literature such as The Tale of Genji and The Tale of Sumiyoshi—was widely used as a traditional design in makie. Thin sheets of gold and kirigane (cut gold foil) were lavishly employed, and the design was commonly applied to writing desks, tebako (cosmetic or accessory boxes), suzuribako (writing boxes for inkstones), and natsume (tea caddies).
“Sumiyoshi.” For Noh theatre and dance audience, “Sumiyoshi” means the Noh play Takasago. Tomonari, the chief priest of Aso Shrine in Kyushu, stops by the shore of Takasago on his way up to the capital. There he encounters an elderly couple sweeping and purifying beneath a pine tree. As they converse, the couple reveals that they are the pines of Aioi and Sumiyoshi, and they recount the tale of the “Aioi no Matsu.” When Tomonari asks, “If you are Aioi, why then are you divided between Takasago and Sumiyoshi?” they reply, “Let us meet at Sumiyoshi,” and then vanish like a breeze. Resolute, Tomonari sets sail for Sumiyoshi (the Sumiyoshi Grand Shrine in Osaka). At this moment is chanted the famous passage: “Takasago ya, kono ura fune ni, ura o agete…”—a chant often performed at wedding celebrations, praising the eternal bond of husband and wife. Eventually, when Tomonari arrives at Sumiyoshi, the deity of Sumiyoshi Shrine appears and bestows blessings upon him. Thus, whenever we encounter Sumiyoshi maki-e (lacquerware decorated with Sumiyoshi motifs), we are reminded of the Noh play Takasago.
Provenance :
Eminent Australian collection , previously supplied in 1987 by Lesley Keyhoe Galleries , Melbourne. Comes complete with descriptive valuation .
Condition report :
Exceptional condition throughout. (nb: Lacquer appear slightly darker in these images )
Approximate Sizes :
Bunko :
Length: 17 1/4″ 44.5 cm
Width : 14 ” 35.5 cm
Height : 6 3/4″ 17 cm
Suzuribako :
Length : 10 1/2″ 27 cm
Width : 9 ” 23 cm
Height : 2 1/4″ 5.5cm
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