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背景切り抜きロゴ
漆器
<Lacquer>

会津塗

Aizu Nuri

お椀や重箱、菓子鉢など、昔から人々の暮らしとともにある漆器として親しまれてきました。 その特徴は、堅牢な塗りと沈金、朱磨き、蒔絵などの優美な意匠。 特に会津絵と呼ばれるうるし絵は会津独特のもので、筆に色漆を含ませ、丹念に模様を描いた漆器は、塗りの美しさと相まって見事な逸品となります。室町時代に始まったといわれています。当時の領主が地域の特産として漆の植林をはじめ、同時に漆器作りも広まりました。会津塗が発展した背景には、盆地特有の湿潤な気候により漆を扱うのに適していたこと、周囲を山に囲まれ木材に恵まれたこと、安土桃山時代以降の代々の藩主が会津塗を保護したことなどがあげられます。

Lacquerware such as bowls, multi-tiered boxes, and confectionery bowls have long been familiar to people as an integral part of their daily lives. They are characterized by their robust coating and elegant designs such as inlaid gold, vermilion polishing, and maki-e. Aizu-e lacquerwork in particular is unique for its surface patterns, which are painted on with a brush dipped in colored lacquer. These pleasing patterns, in combination with the beauty of the surface coating, make for magnificent results.

Aizu lacquermaking is said to have begun in the Muromachi period, when lacquerware production was beginning to spread and a feudal lord began planting lacquer trees as a local specialty. The surrounding mountains were (and still are) thickly covered with timber, and the area’s humid climate was well suited to working with lacquer. These factors facilitated the development of Aizu lacquerware, and successive feudal lords since the Azuchi-Momoyama period have protected Aizu lacquerware over time.

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