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The fire-birds have their wings spread and tail feathers curled, similar to the round-shaped patterns of animals or flower plants (ban-e) often used in textile works. The shells are used skillfully, looking as if they are painted and their elegant white reflection of light accentuates the voluminous appearance of the chest. This is one of the most important works of Japanese-style shell-inlay developed in the late Heian period. There is a trace of repair, but since this piece was pictured in almost the same condition as today in the catalogue of Hōryūji Treasures made in the Edo period, The Pictures of the Treasures (the foreword was written in Tenpō 13 (1842)), it is thought that the repair was done before that time.","@language":"en"},{"@value":" 唐柜的盖面、侧面、柜脚部分使用厚夜光贝(yakougai)螺钿表现出凤凰圆纹。凤凰张开双翼,团起尾羽,创意如染织作品中常见的蛮绘(banne,一种圆形图案)设计。用于画中的贝壳所散发出的白色高雅之光更加体现出唐柜的质量感。这件作品可谓是平安后期日式螺钿的代表作。唐柜上可见损伤的痕迹,但在法隆寺江户时代的宝物图录《御宝物图绘》(天保13年序)中对其描绘几乎与现在的形状相同,因此一般认为唐柜在此记录之前曾被修缮过。","@language":"zh"},{"@value":" 뚜껑의 표면, 측면, 다리 부분에 두꺼운 야광패 자개로 둥근 봉황 문양을 표현했다. 봉황은 좌우 날개를 펼치고 꽁지를 둥글게 말았으며 염직 작품에서 볼 수 있는 반에(蠻繪)와 같은 디자인이다. 조개가 뿜는 희고 고급스러운 빛이 당궤의 중량감 넘치는 모습을 한층 돋보이게 한다. 헤이안 시대 후기의 일본풍 나전을 대표하는 작품이라 할 수 있다. 손상된 흔적이 있지만 호류지 절의 에도 시대 보물도 기록인 『고호모쓰즈에(御寶物圖繪)』(덴포 13년서)에서 거의 현재와 같은 형태로 묘사하고 있어 그 이전에 수리되었으리라 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