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Vermilion Lacquer Hira-natsume by Saito Soho - Gold Old Pine Maki-e Tea Caddy with Box
Vermilion Lacquer Hira-natsume by Saito Soho - Gold Old Pine Maki-e Tea Caddy with Box
Regular price
Dhs. 1,323.00 AED
Regular price
Sale price
Dhs. 1,323.00 AED
Taxes included.
Shipping calculated at checkout.
Experience authentic Japanese lacquer artistry with this Vermilion Lacquer Hira-natsume by Saito Soho. This Japanese Tea Caddy serves as a Red Lacquer Natsume and Gold Maki-e Masterpiece, featuring Old Pine Design and Urushi Lacquerware craftsmanship—a must-have for any Tea Ceremony Collector seeking Longevity Symbol Art and Authentic Japan Art.
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🔹 [ BASIC DETAILS ]
• Artist: Saito Soho (斉藤宗甫)
• Technique: Gold maki-e on vermilion urushi lacquer (shu-nuri)
• Form: Hira-natsume (flat tea caddy)
• Era: Contemporary
• Origin: Japan
• Dimensions: Height approx. 6 cm × Width approx. 7.2 cm (2.4" × 2.8")
• Box: Signed tomobako (共箱) with artist seal, striped cord
• Accessories: Orange silk cloth
• Condition: Excellent — mirror-finish lacquer, no visible wear
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🔹 [ CULTURAL & ARTISTIC INSIGHT ]
In the vocabulary of Japanese tea ceremony, the hira-natsume holds a distinctive place. Its low, rounded profile — named for its resemblance to the jujube fruit — represents a refined aesthetic choice for thin tea (usucha) service. The vermilion ground alone carries centuries of cultural weight: shu-nuri, achieved through multiple layers of urushi mixed with cinnabar, has adorned imperial treasures and temple implements since antiquity.
Saito Soho's choice of the old pine motif (oi-matsu) is laden with intention. In Japanese visual language, the aged pine stands alongside crane and tortoise as a supreme symbol of longevity, resilience, and enduring prosperity. The stylized cloud-like clusters of pine needles rendered in gold maki-e evoke windswept coastal pines and the decorative vocabulary of Rinpa school painting.
The gold pine trunk flows seamlessly from lid to body, creating visual continuity that rewards close observation. Small variations in gold tone — from bright yellow to warm amber — suggest layered maki-e technique where different grades of gold powder create dimensional depth.
*"The pine does not hurry its growth. It gathers years into its branches and calls them beautiful."*
━━━━━━━━━━━━━━━━━━━━
🔹 [ DEEP-DIVE COMMENTARY ]
**The Hira-natsume Form**: The flat tea caddy exists at the intersection of vessel and sculpture. During tea preparation, the host's hands engage its smooth, rounded shoulders; guests observe the play of light across gold-dusted pine branches as the lid is removed. The low profile ensures stability on the tatami mat while demanding deliberate handling — a physical reminder of mindfulness.
**Shu-nuri Technique**: Vermilion lacquer requires cinnabar (mercury sulfide) mixed into refined urushi. Each layer is applied, dried in controlled humidity, then polished before the next coat. The resulting surface possesses a warmth and depth that synthetic reds cannot achieve — a living color that deepens subtly over decades.
**Old Pine Symbolism**: The oi-matsu motif originated in Chinese literati art and was adopted into Japanese decorative arts during the Muromachi period. In tea ceremony, pine imagery is especially associated with New Year celebrations and auspicious occasions. The combination of gold on vermilion amplifies the celebratory quality.
**Technical Mastery**: Saito Soho's execution demonstrates control of both hiramaki-e (flat) and togidashi (burnished) techniques. The pine needle clusters use gradations of gold powder that create apparent three-dimensionality on a curved surface — an achievement requiring decades of practice.
━━━━━━━━━━━━━━━━━━━━
🔹 [ 日本語解説 ]
【基本情報】
• 作家：斉藤宗甫
• 技法：朱塗地に金蒔絵
• 形状：平棗
• 時代：現代
• 産地：日本
• 寸法：高さ約6cm × 幅約7.2cm
• 付属：共箱（作者署名・印）、橙色帛紗
• 状態：優良 — 漆面に鏡のような艶、使用感なし
【解説】
斉藤宗甫造の朱塗老松蒔絵平棗です。鮮やかな朱漆地に金蒔絵で老松を描いた、格調高い薄茶器です。平棗の丸みを帯びた低い形状は棗（なつめ）の実に由来し、茶席において優雅な所作を促します。
老松は長寿・不老・繁栄を象徴する最高位の吉祥文様であり、雲状に様式化された松葉と蓋から胴にかけて流れる幹の構図は、琳派の装飾語彙を想起させます。朱塗は辰砂を混ぜた漆を何層も重ねて研ぎ出す技法で、時を経るほどに深みを増す生きた色彩です。
━━━━━━━━━━━━━━━━━━━━
🔹 [ SHIPPING & PACKAGING ]
• Dispatch: Within 1-6 business days
• Carrier: Japan Post EMS / UPS (with tracking)
• Packaging: Carefully wrapped with protective materials
*The pine gathers years into its branches — and calls them beautiful.*
━━━━━━━━━━━━━━━━━━━━
🔹 [ BASIC DETAILS ]
• Artist: Saito Soho (斉藤宗甫)
• Technique: Gold maki-e on vermilion urushi lacquer (shu-nuri)
• Form: Hira-natsume (flat tea caddy)
• Era: Contemporary
• Origin: Japan
• Dimensions: Height approx. 6 cm × Width approx. 7.2 cm (2.4" × 2.8")
• Box: Signed tomobako (共箱) with artist seal, striped cord
• Accessories: Orange silk cloth
• Condition: Excellent — mirror-finish lacquer, no visible wear
━━━━━━━━━━━━━━━━━━━━
🔹 [ CULTURAL & ARTISTIC INSIGHT ]
In the vocabulary of Japanese tea ceremony, the hira-natsume holds a distinctive place. Its low, rounded profile — named for its resemblance to the jujube fruit — represents a refined aesthetic choice for thin tea (usucha) service. The vermilion ground alone carries centuries of cultural weight: shu-nuri, achieved through multiple layers of urushi mixed with cinnabar, has adorned imperial treasures and temple implements since antiquity.
Saito Soho's choice of the old pine motif (oi-matsu) is laden with intention. In Japanese visual language, the aged pine stands alongside crane and tortoise as a supreme symbol of longevity, resilience, and enduring prosperity. The stylized cloud-like clusters of pine needles rendered in gold maki-e evoke windswept coastal pines and the decorative vocabulary of Rinpa school painting.
The gold pine trunk flows seamlessly from lid to body, creating visual continuity that rewards close observation. Small variations in gold tone — from bright yellow to warm amber — suggest layered maki-e technique where different grades of gold powder create dimensional depth.
*"The pine does not hurry its growth. It gathers years into its branches and calls them beautiful."*
━━━━━━━━━━━━━━━━━━━━
🔹 [ DEEP-DIVE COMMENTARY ]
**The Hira-natsume Form**: The flat tea caddy exists at the intersection of vessel and sculpture. During tea preparation, the host's hands engage its smooth, rounded shoulders; guests observe the play of light across gold-dusted pine branches as the lid is removed. The low profile ensures stability on the tatami mat while demanding deliberate handling — a physical reminder of mindfulness.
**Shu-nuri Technique**: Vermilion lacquer requires cinnabar (mercury sulfide) mixed into refined urushi. Each layer is applied, dried in controlled humidity, then polished before the next coat. The resulting surface possesses a warmth and depth that synthetic reds cannot achieve — a living color that deepens subtly over decades.
**Old Pine Symbolism**: The oi-matsu motif originated in Chinese literati art and was adopted into Japanese decorative arts during the Muromachi period. In tea ceremony, pine imagery is especially associated with New Year celebrations and auspicious occasions. The combination of gold on vermilion amplifies the celebratory quality.
**Technical Mastery**: Saito Soho's execution demonstrates control of both hiramaki-e (flat) and togidashi (burnished) techniques. The pine needle clusters use gradations of gold powder that create apparent three-dimensionality on a curved surface — an achievement requiring decades of practice.
━━━━━━━━━━━━━━━━━━━━
🔹 [ 日本語解説 ]
【基本情報】
• 作家：斉藤宗甫
• 技法：朱塗地に金蒔絵
• 形状：平棗
• 時代：現代
• 産地：日本
• 寸法：高さ約6cm × 幅約7.2cm
• 付属：共箱（作者署名・印）、橙色帛紗
• 状態：優良 — 漆面に鏡のような艶、使用感なし
【解説】
斉藤宗甫造の朱塗老松蒔絵平棗です。鮮やかな朱漆地に金蒔絵で老松を描いた、格調高い薄茶器です。平棗の丸みを帯びた低い形状は棗（なつめ）の実に由来し、茶席において優雅な所作を促します。
老松は長寿・不老・繁栄を象徴する最高位の吉祥文様であり、雲状に様式化された松葉と蓋から胴にかけて流れる幹の構図は、琳派の装飾語彙を想起させます。朱塗は辰砂を混ぜた漆を何層も重ねて研ぎ出す技法で、時を経るほどに深みを増す生きた色彩です。
━━━━━━━━━━━━━━━━━━━━
🔹 [ SHIPPING & PACKAGING ]
• Dispatch: Within 1-6 business days
• Carrier: Japan Post EMS / UPS (with tracking)
• Packaging: Carefully wrapped with protective materials
*The pine gathers years into its branches — and calls them beautiful.*
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