JAPON PÉRIODE EDO, XVIIIE SIÈCLE A black lacquered five-boxed inrô, decorated in hiramaki-e and takamaki-e with gold lacquer on a mura-nashiji background, and kirigane, with a cherry tree in blossom and bamboo near a thatched cottage surrounded by a high wall| the interior in nashiji lacquer and fundame. H. 9.5 cm (Lacquer lacquer, chips, shocks) Private Collection of Mrs F. West of Paris Private Collection of Mrs F. West of Paris F夫人のプライベートコレクション。パリ西部 Lots 62 to 82 INRO Appearing in Japan in the mid-16th century, inrô are small utilitarian boxes formed of one to seven compartments, which were used to hold sealing seals, vermilion wax, and medicines. A male accessory, the inrô was suspended from the obi of the kimono, held by a netsuke at the end of a cord regulated by an ojime, and allowed the transport of small personal effects since the kimono had no pockets. Simply covered with a layer of black lacquer during the Tensho period (1573-1591), the inrô was soon coupled with decorative attention reflecting the social status and aesthetic taste of its wearer. During the 17th century, decorations flourished, reflecting Japanese mythology and imagination. The materials became more noble and were embellished with decorations carved using various techniques, in lacquer or covered with tortoise shell. The lacquer, originally sober, is enriched by inclusions of ivory, mother of pearl, gold and silver. Today, the inro is one of the most important objects for Japanese art collectors. INRO Appeared in Japan in the middle of the 16th century, the inrô are small utilitarian boxes made of one to seven compartments, which were used to contain seals, vermilion wax, and medicines. A male accessory, the inrô was suspended from the obi of the kimono, held by a netsuke at the end of a cord regulated by an ojime, and allowed the transport of small personal effects since the kimono had no pockets. Simply covered with a layer of black lacquer during the Tensho period (1573-1591), the inrô was soon coupled with a decorative attention reflecting the social status and aesthetic taste of its holder. During the 17th century, decorations flourished, reflecting Japanese mythology and imagination. The choice rose for ennobled materials and they were embellished with sculpted decorations using several techniques, in lacquer or covered with tortoise shell. Originally sober, the lacquer is enriched by inclusions of ivory, mother of pearl, gold and silver. Today, a great inrô is one of the most coveted objects for Japanese art collectors.

JAPON PÉRIODE EDO, XVIIIE SIÈCLE 黑漆五盒式稻草人，以平卷绘和高卷绘为背景，以金漆为装饰，以木里金为装饰，在高墙环绕的茅草屋附近，有一棵开花的樱花和竹子，内壁为漆器和漆器。 H.9.5厘米 (漆面漆面、碎片、震动) 巴黎F.West夫人的私人收藏 巴黎F.West夫人的私人收藏 F夫人のプライベートコレクション。パリ西部。 62至82号地块 仁乐是16世纪中叶出现在日本的一种实用性的小盒子，由1到7个格子组成，用来装封条、朱砂和药品。作为男性的配件，"稻荷"悬挂在和服的腰带上，由一根网状物挂在由"おじめ"调节的绳索末端，由于和服没有口袋，因此可以携带小型个人物品。天正年间（1573年-1591年），"稻荷"只是简单地覆盖了一层黑漆，但很快就与反映佩戴者的社会地位和审美品位的装饰性关注结合在一起。在17世纪，装饰品盛行，反映了日本的神话和想象力。材料变得更加高贵，用各种工艺雕刻的装饰品，用漆或用龟壳覆盖。原本清丽的漆器，因为象牙、珍珠母、金银等内含物的加入而变得更加丰富。如今，因罗是日本艺术收藏家最重要的物件之一。 仁乐是16世纪中叶在日本出现的，是由1至7个格子组成的实用性小盒子，用来装印章、朱砂蜡和药品。作为男性的配件，"稻荷"悬挂在和服的腰带上，由一根网状物挂在由"おじめ"调节的绳索末端，由于和服没有口袋，因此可以携带小型个人物品。天正年间（1573-1591年），它只是简单地覆盖了一层黑漆，但很快就被赋予了装饰性的关注，反映了其持有者的社会地位和审美品位。在17世纪，装饰品蓬勃发展，反映了 日本的神话和想象力。人们选择了高贵的材料，他们用几种技术，用漆或用龟壳覆盖的雕刻装饰来装饰。原本沉稳的漆面，因为象牙、珍珠母、金银等内含物而变得丰富起来。如今，大稻埕已成为日本艺术收藏家最梦寐以求的对象之一。

JAPON PÉRIODE EDO, XVIIIE SIÈCLE

JAPON XVIIIe siècle Sukashi tsuba, à décor stylisé et ajouré d'un saule pleureur près d'une balustrade. Signée Bushu ju Tadanao H. 7,5 cm

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