This gold lacquer sake dish, part of a set of three, is signed by the renowned family of lacquer artists, Kajikawa Bunryusai, who are said to have originally worked for the Tokugawa shogunate towards the end of the 17th century.

Sake is traditionally drunk from lacquer dishes which come in sets of three, and is drunk in Shinto marriage ceremonies to bind the couple's union. These gold lacquer dishes are decorated with scenes from a popular Japanese tale, 'the fox's wedding'. There are a number of stories in Japanese mythology relating to foxes. The term 'a fox's wedding' is given to the 'sunshower' phenomenon, referring to the deceit and trickery associated with foxes.

This set of sake dishes was purchased from the deceased estate of Dame Eadith Campbell Walker (1861-1937). Dame Walker inherited the Yaralla Estate in Concord West from her father, Thomas Walker, in 1886. Like her father, Walker was known for her philanthropic work and was appointed Commander of the order of the British Empire (1918) and Dame Commander of the Order of the British Empire (1928) for philanthropic and charitable services. She was also well known within the Sydney social scene, and regularly held parties at the estate for Sydney society members. Vice-regal and royal guests are known to have stayed at Yaralla during visits to Sydney and in 1921 Dame Walker had a squash court built for the Prince of Wales in 1921. Walker had a keen interest in art and collected many items on her extensive overseas travels.

On her death in 1937, Walker's estate was given to the government by trustees and it became the Dame Eadith Walker Convalescent Hospital which ran from 1940 until 1988. In 1938, 2851 household items from Yaralla estate were auctioned over eight days. The Museum purchased a large number of significant items, including these sake dishes. This collection comprises a significant number of objects from all over the world, valued not only as excellent examples of art and design, but for their relation to philanthropist Dame Walker.

REF:
Australian Dictionary of Biography - Online Edition, http://www.adb.online.anu.edu.au/biogs/A120398b.htm
Australian Women's Archives Project, http://www.womenaustralia.info/biogs/IMP0056b.htm
Concord Heritage Society, http://www.concordheritage.asn.au/chs-yaralla.htm
NSW Heritage Office, http://www.heritage.nsw.gov.au/07_subnav_02_2.cfm?itemid=5045176
Bilney, Elizabeth (ed), 'Decorative Arts and Design from the Powerhouse Museum', Powerhouse Publishing, 1991
Kopplin, Monika (ed), 'Lacquerware in Asia, today and yesterday', UNESCO Publishing, France, 2002
Volker, T, The Animal in Far Eastern Art and especially in the art of the Japanese Netsuke with references to Chinese origins, traditions, legends, and art', E J Brill, Leiden, 1975
Von Ragué, Beatrix, 'A History of Japanese Lacquerwork', University of Toronto Press, Canada, 1976

Sake dish, 'Foxes Wedding', lacquer, made by Kajikawa Bunryusai, Japan, 1800-1899

A circular lacquered dish for sake mounted on a circular foot. The dish features a hand painted gold lacquer design of foxes in a procession wearing traditional Japanese dress and transporting a carriage on their shoulders. In the background there is a wall and a tree. The underside of the dish is red with a gold design of bamboo. Gold Japanese characters or kanji can be seen in the centre of the underside.

Lacquer is made from thick sap tapped from the lacquer tree. Once filtered and prepared, the lacquer, often coloured with a pigment, is applied to a core. After drying, it is ground and polished. Thirty or more layers may be applied, each layer taking longer to dry than the one preceding.

The earliest known lacquer was produced in China some 3000 years ago. Manufacture later spread to Korea, Japan and South-East Asia along the many trade routes that linked China to its neighbouring countries. Initially adopting Chinese designs and technologies, Japanese lacquer work became highly experimental using a large variety of techniques and designs. Lacquer was used as a protective and decorative coating for a cloth, basketry or wooden core.

During the early 1600s Japanese rule banned nationals from either going abroad or returning home if already out of the country. Similarly foreigners, including missionaries and traders, were expelled from the country and banned from entering, leaving the country in relative isolation for a century and a half. This was largely due to fear of military conquests by European powers, along with the fear that outside ideas might upset social order and cultural traditions. This period, although isolating, allowed for an exploration of identity and culture and lead to productivity and refinement of Japanese artistic, social and religious heritage.

In July 1853 the US Navy entered the bay at Edo, demanding that Japan resume trade with the West, and eventually a number of treaties were signed allowing as much. Fifteen years later the shogun resigned, being replaced by the Emperor. In March 1876, during the Meiji period (1868-1912), the Hatôrei edict was passed, officially abolishing the samurai as a class. Up until this time lacquer artists had largely been employed by the shogunate. After the country opened up to Western trade the demand for traditional lacquerwork within Japan dropped dramatically, being replaced by European or American goods.

Japan held tremendous fascination to Western countries. Countries such as Australia and England, having seen Japanese lacquers and other art ware displayed at events such as the 1873 World Exhibition in Vienna, began importing Japanese products, thus providing an alternate marketplace for traditional artists. This period also marked an increase in travel from western countries to Japan, and traditional wares such as lacquerware became popular souvenirs and collectors items.

This dish is signed by Tatsuke Kokosai, who worked during the 19th century. Kokosai was a member of the Tatsuke family of lacquer artists said to have been founded by Aogai Chobei during the second half of the 17th century.

REF:
Bilney, Elizabeth (ed), 'Decorative Arts and Design from the Powerhouse Museum', Powerhouse Publishing, 1991
Jahss, M & B, 'Inro and other miniature forms of Japanese lacquer art, Charles E Tuttle, Japan, 1971
Kopplin, Monika (ed), 'Lacquerware in Asia, today and yesterday', UNESCO Publishing, France, 2002
Richards, Dick, 'Japan: Three Worlds', Art Gallery of South Australia, Adelaide 1999
Von Ragué, Beatrix, 'A History of Japanese Lacquerwork', University of Toronto Press, Canada, 1976

Purchased 1938

A3104-3

1800

22 mm

108 mm