Negoro - Yô no Bi

[Manupropria]

THE REFINED BEAUTY AND RUSTIC AMBIENCE OF MEDIEVAL JAPAN
Most collectors and lovers of Japanese Pens are familiar with „Maki-e“ (Maki = sprinkling, E = picture) but it is not well known, that among the trade of urushi Maki-e is only one particular technique in which pictures are created by using different metal powders that are sprinkled into wet lacquer and polished.

There ar other techniques that I will introduce and explain in posts to follow.

Today I would like to introduce to you a lacquer called Negoro.
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Yô no Bi
Yô no bi’ is an expression from the Japanese folk craft tradition and means ‘beauty through use’. It is perfectly represented by Negoro lacquer.
Embodying the ancient sense of Japanese beauty, the minimalistic forms of Negoro lacquer ware were primarily made to be functional objects and are void of elaborate decoration. The supple shapes and naturally worn patina of red and black lacquered layers give Negoro an ambience of antiquity and elegance which has made them treasured objects throughout the ages. Since the early twentieth century Negoro wares have become highly appreciated by connoisseurs as objects of outstanding design that pursue a certain utilitarian beauty. Since ancient times the Neolithic people of Japan have used the sap of the lacquer tree (Japanese sumac, or Toxicodendron vernicifluum) mixed with cinnabar pigment to produce red lacquered objects for daily use. Red is considered a sacred and auspicious colour in Japan.

It is used widely as the colour of shrines and temples, as well as of sacred offering vessels and in some instances, such as red sea brim, the colour of the ritual offering itself. The first illustrated evidence of the use of red lacquer ware is found in handscrolls, including the twelfth-century Tale of Genji ‘Kashiwagi’ scroll in which circular trays similar to the one in the NGV collection are shown being used by members of the imperial aristocracy. In the fourteenthcentury handscroll Miraculous stories of the gods of Kasuga (Kasuga Gongen Genki-e), we see shrine priests eating from stem tables identical in appearance and age to examples in the NGV collection, and in the sixteenth-century The illustrated scroll of the sake and rice debate (Shuhanron ekotoba), we see monks using red lacquered trays, bowls and large dishes. In these depictions of monastery life and aristocratic villas Negoro utensils are clearly shown as favoured and cherished objects, alluding to demand for their production in large numbers. Square and circular trays, bowls of various sizes and large spouted ewers were used at daily meals. Lobed cup stands, offering trays and sake bottles with foliate lids featured in temple rituals and clearly display lotus flower–inspired motifs common to Buddhist art. Stem tables were frequently used as offering stands and placed in altars of Buddhist temples and Shinto shrines.

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Themes connected to Negoro Lacquer Wabi
What can we say, beyond mentioning that although these lacquer pieces usually are red, and show traces of the underlaying black, sometimes they are black and show traces of red. One can go further, and say that lovers of Negoro share a „wabi“ aesthetic. That is, lovers of Negoro find beauty not in the display of cunning craftsmanship, and not in the ostentatious, but in the simple, the austere, the unadorned - or to be more exact, they find beauty where traces of black appear beneath the worn red surface, an adornment that is „natural“ the product of time. In short, „wabi“ is an aesthetic of poverty, an aesthetic that values the simple, the worn, the mellow. It is an aesthetic that finds beauty not only in the smooth face of a beauty queen, but in the wrinkled face of her grandmother.. Anyone who preferes worn jeans to brand-new jeans knows the beauty of „wabi“.
Mottainai
Mottainai, [mottainai]) is a Japanese term conveying a sense of regret concerning waste. The expression „Mottainai!“ can be uttered alone as an exclamation when something useful, such as food or time, is wasted, meaning roughly „what a waste!“ or „Don‘t waste. In addition to its primary sense of „wastefulness“, the word is also used to mean „impious; irreverent“ or „more than one deserves“. Mottainai is an old Buddhist word, which has ties „with the Shinto idea that objects have souls. Mottainai has been referred to as a tradition, a cultural practice, and an idea which is still present in Japanese culture, which has become an international concept.. Mottainai in Japanese refers to more than just physical waste (resources). It is even used to refer to thought patterns that give rise to wasteful action. Grammatically, it can be used in Japanese as an exclamation („mottainai!“) or as an adjective phrase („it feels mottainai“). There is no plural form. The collection of mottainai things could be called mottainai koto. As an exclamation („mottainai!“) it means roughly „what a waste!“ or „Don‘t waste. An English equivalent is the saying „waste not, want not.“ A more elaborate meaning conveys a sense of value and worthiness and may be translated as „do not destroy (or lay waste to) that which is worthy. However, mottainai is an example of a word, like sukiyaki and sushi, that cannot easily or accurately be translated directly into other languages.

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Kurosawa Akira
The Film director Kurosawa Akira was also a known collector of Negoro and he frequently exhibited masterpieces such as ritual sake bottles „heishi“ circular trays „bon“ and trays with ancled corners „ô-shiki“. In the film „Thrones of Blood“ a large number of Negoro were featured in a banquet scene. At Kurosawa‘s home Negoro trays and plates were often used when people from the film industry gathered there.

Museum of Modern Art
Kazumi Murose, urushi artist and a Living National Treasure was contracted to produce a Negoro lacquer door for the MOA Museum of Modern Art.
Symbolic of the Colors Red & Black
Red: Activity, dynamism, vitality, energy, determination love, strength, temperament, passion fire, danger, warning, blood, rage, blood, happyness, wealth
Black: Power, sexuality, sophistication, formality, elegance, wealth, mystery, fear, evil, unhappiness
Here some ebonite pens with negoro lacquer manufactured by Manu Propria Pens in Switzerland

Best regards,

Martin

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[catbert]

Beautiful.
The painting reminds me of Rothko.

[Manupropria]

Thank you. The painting is Rothko

[NibsForScript]

Thank you for your well written and informative article. It brings back memories of my great-grandfathers collection. I remember seeing Negoro Lacquer Wabi pieces in his home and being amazed at their beauty compared to ornate work that left me cold. I remember sneaking a touch. The family sold most of the collection off when I was about 10.

[NibsForScript]

Thank you for your well written and informative article. It brings back memories of my great-grandfathers collection. I remember seeing Negoro Lacquer Wabi pieces in his home and being amazed at their beauty compared to ornate work that left me cold. I remember sneaking a touch. The family sold most of the collection off when I was about 10.

[Gobblecup]

Thank you so much for this fascinating post, I really appreciate and admire the beauty in this Negoro Lacquer Wabi art you have just informed me of. I’d love to own a pen in this style, ESPECIALLY the the pen in the third picture, though I fear what the cost might be for such a pen, maybe it would be a grail.

[Manupropria]

As we can learn there are many more options with urushi for pens. Unfortunately only Maki-e and red and black are manufactured. The only exception is Nakaya

[aaronp]

I think I have not seen this kind of design for any Urushi or Maki-e pens yet. Although the cost might not be affordable to me, I always appreciate such works of art. Thank you the wonderful post.

[amk]

As always an informative and fascinating post. I will now have to see Throne of Blood again to spot the negoro! I particularly like the interior of the bowl with its wonderfully natural feeling where the red has been 'washed away'. Is it one of yours?

[Manupropria]

Thank you very much.
The object on the photos - except the pens - are all museum quality, part of museum collection