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Seki Suiun Gold Chrysanthemum Kebori Chu-Natsume Engraved Lacquer Tea Caddy
Seki Suiun Gold Chrysanthemum Kebori Chu-Natsume Engraved Lacquer Tea Caddy
Regular price
Dhs. 1,338.00 AED
Regular price
Sale price
Dhs. 1,338.00 AED
Taxes included.
Shipping calculated at checkout.
Discover Authentic Japanese Lacquer Art with this Gold Chrysanthemum Kebori Chu-Natsume by Seki Suiun. This Engraved Lacquer Tea Caddy serves as a Kin-Kiku-Bori masterwork and Hair-Line Gold Carving collectible, featuring All-Over Kiku Pattern and Black Lacquer Interior—a must-have for any Art Collector seeking Urushi Lacquerware and Japanese Tea Ceremony accessories.
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🔹 [ BASIC DETAILS ]
• Artist: Seki Suiun (関翠雲)
• Technique: Kebori (毛彫 / hair-line engraving) — gold chrysanthemum carving over dark lacquer
• Design: Kin-kiku-bori (金菊彫り) — gold chrysanthemum engraving
• Form: Chu-natsume (中棗) — medium tea caddy
• Era: Contemporary
• Origin: Japan
• Dimensions: Height approx. 6.9 cm, Diameter approx. 6.7 cm (2.7” × 2.6”)
• Interior: Clean black lacquer
• Box: Signed tomobako inscribed '金菊彫り 中棗 / 翠雲' with seal, purple silk cord
• Includes: Tomobako, silk cord
• Condition: Excellent — engraving sharp throughout, lacquer surface pristine
━━━━━━━━━━━━━━━━━━━━
🔹 [ CULTURAL & ARTISTIC INSIGHT ]
The chrysanthemum holds a position in Japanese culture that no other flower occupies. It is the emblem of the Imperial House, the subject of the Ninth Month Festival (Choyo no Sekku), and among the oldest cultivated flowers in the archipelago. In chanoyu, kiku motifs are reserved for autumn and early winter gatherings — a signal from the host that the season has turned toward contemplation.
Seki Suiun's approach to this canonical motif departs entirely from the expected. There is no maki-e here. No sprinkled gold, no built-up relief. Instead, Suiun employs kebori — hair-line engraving — to incise the chrysanthemum pattern directly into the lacquer surface, filling each impossibly fine line with gold. The result is a texture unlike anything else in the lacquer repertoire: a shimmering, all-over field of golden lines that transforms the entire vessel into a single, continuous chrysanthemum.
*"Not gold laid upon lacquer, but gold drawn from within it — as though the flower had always been there, waiting to be uncovered."*
━━━━━━━━━━━━━━━━━━━━
🔹 [ DEEP-DIVE COMMENTARY ]
**Kebori — The Hair-Line Technique**: Kebori (毛彫) is among the most demanding lacquer techniques. The artisan uses an extremely fine chisel or needle to incise lines into cured lacquer, then fills each groove with gold paste or gold leaf. Unlike maki-e, which deposits gold on the surface, kebori embeds gold within the surface — a structural difference that gives the finished work a quality of depth rather than decoration. Every line must be cut with consistent pressure and unwavering hand control. A single slip cannot be corrected. The technique demands the patience of an engraver and the precision of a calligrapher.
**All-Over Composition**: What distinguishes this piece from conventional chrysanthemum designs is coverage. The kebori pattern wraps the entire body of the natsume — lid and vessel — in an unbroken field of gold chrysanthemum petals. Viewed from any angle, the surface shimmers with a rain-like quality, as though golden threads have been woven into the lacquer itself. This all-over approach transforms the natsume from a vessel bearing a motif into a vessel that is the motif.
**Dark Ground, Luminous Pattern**: The choice of dark lacquer as the ground intensifies the visual impact. Each gold line registers as light emerging from darkness. When the natsume is held in the hand and rotated during temae, the pattern catches ambient light at shifting angles, creating a kinetic quality — the chrysanthemum appears to breathe.
**Interior Discipline**: The interior is finished in clean, unadorned black lacquer — a mark of the maker's understanding that restraint is its own statement. The contrast between the densely worked exterior and the quiet interior mirrors the tea principle of inside and outside, public gesture and private stillness.
━━━━━━━━━━━━━━━━━━━━
🔹 [ 日本語解説 ]
【基本情報】
• 作家：関翠雲
• 技法：金菊彫り（毛彫り）
• 形状：中棗
• 産地：日本
• 寸法：高さ約6.9cm、径約6.7cm
• 付属：共箱（「金菊彫り 中棗 翠雲」墨書・印）、紫紐
• 状態：優良
【解説】
関翠雲作の金菊彫り中棗。毛彫りは漆芸の中でも最も繊細な技法のひとつで、硬化した漆面に極細の線を彫り込み、金を充填して文様を現す技法です。蓒絵が漆面の上に金を置くのに対し、毛彫りは漆面の中に金を埋め込む——この構造的な違いが、装飾ではなく深度を生み出します。翠雲はこの毛彫りを棗全体に施し、蓋から胴まで途切れなく菊花の金線で覆い尽くしています。覚の彫りの細さは「金の雨」のような独特の質感を生み、角度によって光の表情が変わる、生きた器面です。内部は無地の黒漆仕上げ。共箱に墨書と印。
━━━━━━━━━━━━━━━━━━━━
🔹 [ SHIPPING & PACKAGING ]
• Dispatch: Within 1-6 business days
• Carrier: Japan Post EMS / UPS (with tracking)
• Packaging: Carefully wrapped with protective materials
*Gold incised into darkness — the chrysanthemum does not sit on the surface. It lives within it.*
━━━━━━━━━━━━━━━━━━━━
🔹 [ BASIC DETAILS ]
• Artist: Seki Suiun (関翠雲)
• Technique: Kebori (毛彫 / hair-line engraving) — gold chrysanthemum carving over dark lacquer
• Design: Kin-kiku-bori (金菊彫り) — gold chrysanthemum engraving
• Form: Chu-natsume (中棗) — medium tea caddy
• Era: Contemporary
• Origin: Japan
• Dimensions: Height approx. 6.9 cm, Diameter approx. 6.7 cm (2.7” × 2.6”)
• Interior: Clean black lacquer
• Box: Signed tomobako inscribed '金菊彫り 中棗 / 翠雲' with seal, purple silk cord
• Includes: Tomobako, silk cord
• Condition: Excellent — engraving sharp throughout, lacquer surface pristine
━━━━━━━━━━━━━━━━━━━━
🔹 [ CULTURAL & ARTISTIC INSIGHT ]
The chrysanthemum holds a position in Japanese culture that no other flower occupies. It is the emblem of the Imperial House, the subject of the Ninth Month Festival (Choyo no Sekku), and among the oldest cultivated flowers in the archipelago. In chanoyu, kiku motifs are reserved for autumn and early winter gatherings — a signal from the host that the season has turned toward contemplation.
Seki Suiun's approach to this canonical motif departs entirely from the expected. There is no maki-e here. No sprinkled gold, no built-up relief. Instead, Suiun employs kebori — hair-line engraving — to incise the chrysanthemum pattern directly into the lacquer surface, filling each impossibly fine line with gold. The result is a texture unlike anything else in the lacquer repertoire: a shimmering, all-over field of golden lines that transforms the entire vessel into a single, continuous chrysanthemum.
*"Not gold laid upon lacquer, but gold drawn from within it — as though the flower had always been there, waiting to be uncovered."*
━━━━━━━━━━━━━━━━━━━━
🔹 [ DEEP-DIVE COMMENTARY ]
**Kebori — The Hair-Line Technique**: Kebori (毛彫) is among the most demanding lacquer techniques. The artisan uses an extremely fine chisel or needle to incise lines into cured lacquer, then fills each groove with gold paste or gold leaf. Unlike maki-e, which deposits gold on the surface, kebori embeds gold within the surface — a structural difference that gives the finished work a quality of depth rather than decoration. Every line must be cut with consistent pressure and unwavering hand control. A single slip cannot be corrected. The technique demands the patience of an engraver and the precision of a calligrapher.
**All-Over Composition**: What distinguishes this piece from conventional chrysanthemum designs is coverage. The kebori pattern wraps the entire body of the natsume — lid and vessel — in an unbroken field of gold chrysanthemum petals. Viewed from any angle, the surface shimmers with a rain-like quality, as though golden threads have been woven into the lacquer itself. This all-over approach transforms the natsume from a vessel bearing a motif into a vessel that is the motif.
**Dark Ground, Luminous Pattern**: The choice of dark lacquer as the ground intensifies the visual impact. Each gold line registers as light emerging from darkness. When the natsume is held in the hand and rotated during temae, the pattern catches ambient light at shifting angles, creating a kinetic quality — the chrysanthemum appears to breathe.
**Interior Discipline**: The interior is finished in clean, unadorned black lacquer — a mark of the maker's understanding that restraint is its own statement. The contrast between the densely worked exterior and the quiet interior mirrors the tea principle of inside and outside, public gesture and private stillness.
━━━━━━━━━━━━━━━━━━━━
🔹 [ 日本語解説 ]
【基本情報】
• 作家：関翠雲
• 技法：金菊彫り（毛彫り）
• 形状：中棗
• 産地：日本
• 寸法：高さ約6.9cm、径約6.7cm
• 付属：共箱（「金菊彫り 中棗 翠雲」墨書・印）、紫紐
• 状態：優良
【解説】
関翠雲作の金菊彫り中棗。毛彫りは漆芸の中でも最も繊細な技法のひとつで、硬化した漆面に極細の線を彫り込み、金を充填して文様を現す技法です。蓒絵が漆面の上に金を置くのに対し、毛彫りは漆面の中に金を埋め込む——この構造的な違いが、装飾ではなく深度を生み出します。翠雲はこの毛彫りを棗全体に施し、蓋から胴まで途切れなく菊花の金線で覆い尽くしています。覚の彫りの細さは「金の雨」のような独特の質感を生み、角度によって光の表情が変わる、生きた器面です。内部は無地の黒漆仕上げ。共箱に墨書と印。
━━━━━━━━━━━━━━━━━━━━
🔹 [ SHIPPING & PACKAGING ]
• Dispatch: Within 1-6 business days
• Carrier: Japan Post EMS / UPS (with tracking)
• Packaging: Carefully wrapped with protective materials
*Gold incised into darkness — the chrysanthemum does not sit on the surface. It lives within it.*
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