{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://emuseum.nich.go.jp/iiifapi/100026000/manifest.json","@type":"sc:Manifest","label":[{"@value":"e国宝 - 菊蒔絵手箱","@language":"ja"},{"@value":"e-Museum - Small box depicting chrysanthemum flowers in <i>maki-e</i> lacquer","@language":"en"},{"@value":"e国宝 - 菊纹莳绘日用品盒","@language":"zh"},{"@value":"e국보 - 마키에 국화무늬 손궤","@language":"ko"}],"metadata":[{"label":[{"@value":"指定区分","@language":"ja"},{"@value":"Designation","@language":"en"},{"@value":"指定等级","@language":"zh"},{"@value":"문화재 지정 구분","@language":"ko"}],"value":[{"@value":"重要文化財","@language":"ja"},{"@value":"Important Cultural Property","@language":"en"},{"@value":"重要文化财","@language":"zh"},{"@value":"중요문화재","@language":"ko"}]},{"label":[{"@value":"分野","@language":"ja"},{"@value":"Category","@language":"en"},{"@value":"类别","@language":"zh"},{"@value":"분야","@language":"ko"}],"value":[{"@value":"漆工","@language":"ja"},{"@value":"Lacquerware","@language":"en"},{"@value":"漆器工艺","@language":"zh"},{"@value":"칠공예","@language":"ko"}]},{"label":[{"@value":"名称よみ","@language":"ja"}],"value":[{"@value":"きくまきえてばこ","@language":"ja"}]},{"label":[{"@value":"指定名称","@language":"ja"}],"value":[{"@value":"菊蒔絵手箱","@language":"ja"}]},{"label":[{"@value":"員数","@language":"ja"},{"@value":"Quantity","@language":"en"},{"@value":"数量","@language":"zh"},{"@value":"수량","@language":"ko"}],"value":[{"@value":"1合","@language":"ja"},{"@value":" ","@language":"en"},{"@value":"1只","@language":"zh"},{"@value":"1점","@language":"ko"}]},{"label":[{"@value":"品質形状","@language":"ja"},{"@value":"Media","@language":"en"},{"@value":"材质形状","@language":"zh"},{"@value":"재질/형태","@language":"ko"}],"value":[{"@value":"木製漆塗","@language":"ja"},{"@value":"Lacquered wood","@language":"en"},{"@value":"木制涂漆","@language":"zh"},{"@value":"나무에 옻칠","@language":"ko"}]},{"label":[{"@value":"法量","@language":"ja"},{"@value":"Dimensions","@language":"en"},{"@value":"尺寸","@language":"zh"},{"@value":"크기","@language":"ko"}],"value":[{"@value":"縦24.0　横31.3　高18.5","@language":"ja"},{"@value":"18.5×24.0×31.3 cm","@language":"en"},{"@value":"纵24.0 横31.3 高18.5","@language":"zh"},{"@value":"세로 24.0, 가로 31.3, 높이 18.5","@language":"ko"}]},{"label":[{"@value":"時代・世紀","@language":"ja"},{"@value":"Period,Century","@language":"en"},{"@value":"年代・世纪","@language":"zh"},{"@value":"시대・세기","@language":"ko"}],"value":[{"@value":"南北朝～室町時代　14世紀","@language":"ja"},{"@value":"Nanboku-chō to Muromachi period, 14th century","@language":"en"},{"@value":"南北朝-室町时代 14世纪","@language":"zh"},{"@value":"남북조시대-무로마치시대, 14세기","@language":"ko"}]},{"label":[{"@value":"所蔵者","@language":"ja"},{"@value":"Owner","@language":"en"},{"@value":"收藏家","@language":"zh"},{"@value":"소장자","@language":"ko"}],"value":[{"@value":"九州国立博物館","@language":"ja"},{"@value":"Kyushu National Museum","@language":"en"},{"@value":"九州国立博物馆","@language":"zh"},{"@value":"규슈국립박물관","@language":"ko"}]},{"label":[{"@value":"各館作品番号","@language":"ja"},{"@value":"Collection reference no.","@language":"en"},{"@value":"机构管理序号","@language":"zh"},{"@value":"기관관리번호","@language":"ko"}],"value":[{"@value":"H137","@language":"ja"},{"@value":"H137","@language":"en"},{"@value":"H137","@language":"zh"},{"@value":"H137","@language":"ko"}]}],"description":[{"@value":"　長方形隅丸合口造（すみまるあいくちづくり）の手箱である。菊は、中国から渡来した花で、延命長寿を象徴する吉祥文であり、「菊慈童（きくじどう）」や「菊籬（きくまがき）」など、説話や文学作品を題材とした文様は、古くから工芸品の意匠として好まれてきた。\r\n　表面は、黒漆塗の地に平目粉（やや扁平（へんぺい）な蒔絵平目粉）を密に蒔いて、金の薄肉高蒔絵（たかまきえ）（文様部分を肉上げし、蒔絵をほどこす技法）や銀の金貝（かながい）（金属の薄板を文様の形に切り、漆地面に貼りあらわす技法）で菊花文をあらわす。菊花はいずれも複弁で、正面、裏面、側面、蕾（つぼみ）などのさまざまな表現がみられる。土坡（どは）は金の薄肉高蒔絵および研出蒔絵（とぎだしまきえ）であらわし、縁には銀の切金（きりかね）を置いて縁取をほどこす。研出蒔絵（とぎだしまきえ）とは、絵漆で文様を描いてから、金銀粉などを蒔いて漆で塗りこめ、漆が硬化した後に研ぎ出す技法をいい、また、切金とは、金属の薄板を種々の形に切って、蒔絵面に貼りあらわす技法をいう。\r\n　側面に取り付けた紐金具（ひもかなぐ）は、菊花を九曜紋形に連ねた金銅製で、身の内には花唐草文を織り出した銀襴（ぎんらん）を貼りめぐらしている。\r\n　遺例が少ない南北朝時代末から室町時代初期において、古様な表現を踏襲（とうしゅう）しつつ伝統的な意匠をあらわした手箱として貴重である。","@language":"ja"},{"@value":"Here is a small rectangular box with rounded edges and a fitted lid. It depicts chrysanthemum flowers, a species of flower introduced to Japan from China. As a symbol of longevity, chrysanthemums have featured in various legends and literary works, such as the tale of Kikujidō (Chrysanthemum Boy) and Miyao Tomiko’s <i>Kikumagaki</i> (<i>Chrysanthemum Hedge</i>), and have been popular as an auspicious motif on handicrafts since ancient times.\r\n\r\nThe box is decorated using a class of techniques known collectively as <i>maki-e</i> (lit., “sprinkled picture”). Forming the ground of the design is flat gold powder (<i>hiramefun</i>) sprinkled densely over a black lacquered surface. The chrysanthemums are then rendered using two techniques: low-relief <i>takamaki-e</i>, where the design is first raised with layers of lacquer and then covered in gold powder, and silver <i>kanagai</i>, in which thin plates of metal are cut out into various shapes and pasted onto a lacquered surface. All the flowers on this box have double petals, and appear in different stages of maturity from various angles. The mud patch out of which the flowers grow is rendered in raised gold <i>takamaki-e</i> and burnished <i>maki-e</i> within outlines created using small silver pieces (<i>kirikane</i>). Burnished <i>maki-e</i> is a technique that involves first rendering a design in lacquer, filling it with gold and/or silver powders, covering that in yet another layer of lacquer and letting the section dry, then finally polishing away excess lacquer to reveal the final pattern. <i>Kirikane</i>, on the other hand, involves cutting thin pieces of metal into a desired shape and pasting it onto a lacquered surface.\r\n\r\nOn one side of the box is a gilt-bronze fitting with a ring to which a rope would have been attached. It takes the shape of eight chrysanthemums around a central flower to reproduce an arrangement reminiscent of a <i>kuyōmon</i> motif, which represents the nine heavenly bodies in ancient Indian astronomy and subsequently Hindu and Buddhist cosmology. The inner faces of the box are lined with a gold brocade decorated with arabesque patterns.\r\n\r\nFew handicrafts remain today from the late Nanboku-chō to early Muromachi period, making this box a valuable work with its adherence to traditional designs and techniques.","@language":"en"},{"@value":"　　此盒为长方形，圆角盒盖，盒盖与盒身上下扣合。历史上，菊花由中国传入日本，菊花纹是一种象征益寿延年的吉祥图案，以‘’菊慈童”、“菊篱”等传说故事和文学作品为题材制作的图案，作为工艺品的装饰题材自古深受喜爱。此盒以黑漆为底，密密麻麻地撒上扁平形状的莳绘用粉，再饰以多种工艺的菊花纹，比如在浅堆塑的菊花纹上施以金粉莳绘，以及将薄银片裁成菊花形状进行粘贴等。盒上的菊花皆为复瓣，形态多样，有正面、背面、侧面，还有蓓蕾等。斜坡处也采用了浅堆塑上施金粉莳绘的技法，以及 “研磨莳绘”技法，同时还用薄银切片（日本称“切金”）勾出轮廓。“研磨莳绘”，指用漆画笔描画纹样后，撒上金银粉，再涂漆覆盖，待漆液干透后，磨去表面漆层从而显露出金银纹饰的工艺。“切金”，是将金属薄片裁成各种形状，贴于莳绘表面的工艺。此盒侧面的系绳扣为鎏金铜金属构件，其底座和扣钮以金属菊花排成九耀纹形状。盒内贴一层花唐草纹银丝织物。在传世品甚少的日本南北朝时代末期至室町时代初期的作品中，此盒既沿用古典表现手法又表现传统主题，价值珍贵。","@language":"zh"},{"@value":"　직사각형에 네 모서리가 둥글며, 뚜껑과 몸체의 구연부가 반듯하게 만나도록 하는 아이쿠치(合口) 형식 손궤이다. 국화는 중국에서 전해진 꽃으로, 연명장수를 상징하는 길상 문양이다. '기쿠지도'(菊慈童), '기쿠마가키'(菊籬) 등 설화와 문학작품을 제재로 한 문양은 예로부터 공예품의 문양 디자인으로서 선호되어 왔다. \r\n　표면에 검은 옻칠을 하고 그 위에 마키에용 편평한 금가루를 빈틈없이 뿌렸다. 그리고 국화 문양 부분을, 금을 사용한 '박육(薄肉) 다카마키에'(다카마키에(高蒔繪): 다양한 소재로 문양 부분 만을 바탕 표면보다 높아지도록 한 뒤, 마키에를 구사하는 방법) 또는 은을 사용한 '가나가이'(가나가이(金貝): 금속으로 된 얇은 판을 문양 모양으로 잘라, 옻칠면에 붙여 맞추는 기법)로 표현하였다. 표현된 국화는 모두 겹꽃잎으로 정면, 뒷면, 옆면, 봉우리 등 다양한 모습을 하고 있다. 흙 제방 부분은 금을 사용한 '박육(薄肉) 다카마키에' 및  '도기다시(硏出) 마키에' 기법을, 제방 테두리에는 은을 사용한 '기리가네'(切金) 기법을 구사하였다. '도기다시 마키에'란 그림용 옻으로 문양을 그려넣고 금은가루를 뿌린 뒤 옻을 바르고 그 옻이 마르면 갈아내는 기법이다. 그리고 '기리가네'란 금속의 얇은 판을 다양한 모양으로 자르고 마키에 표면에 붙여 맞추는 기법이다. \r\n　옆면에 단 고리형 쇠장식은 국화를 아홉개 별모양인 구요문 형태로 늘어놓아 표현했고, 금동으로 제작하였다. 함 내부에는 꽃넝쿨무늬로 짜인 은란이 전체적으로 붙여져 있다. \r\n　현존하는 작품 예가 적은 남북조시대 말부터 무로마치시대 초기에 있어, 예스러운 표현을 이어받으면서도 전통적인 문양 디자인을 표현한 손궤로서 귀중하다.\r\n＊마키에: 칠기 표면에 가는 붓을 사용하여  옻으로 그림, 문양, 문자 등을 그리고 옻이  굳기 전에 금, 은 가루를 뿌려 문양 표면에 정착시키는 기법 또는 이 기법으로 제작한 칠기 작품.","@language":"ko"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/100026001001/1/thumbnail.jpeg","@type":"dctypes:Image","height":158,"width":200},"viewingHint":"individuals","viewingDirection":"","license":"https://emuseum.nich.go.jp/about","attribution":[{"@value":"独立行政法人国立文化財機構","@language":"ja"},{"@value":"National Institutes for Cultural 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