Kamakura carving - Kamakurabori

A lacquer technique in which a design or pattern is carved into a wooden base and lacquer is applied directly to the surface. It is also called chobokushitsu (carved wood lacquer). In most cases, vermilion lacquer is applied over a black lacquer base, but there are also cases where only black lacquer is used. In modern times, when the vermilion lacquer is half-dry, powdered makomo (makomo ink) or lamp black is sprinkled on top, resulting in a slightly blackish red lacquer finish. There are also cases where vermilion and green irorushi are applied separately, and sometimes carved wood irushi, with gold leaf scattered here and there, is used.

Its origins are unclear, but there is a legend in "Sakurameimanroku" (industry section of "Kojiruien") that tells of its origins in Kamakura. According to this legend, it began with the lacquer technique used when Unkei's grandson Koen applied lacquer to Buddhist altar fittings for the Hokkedo Hall together with the Song dynasty man Chin Wakei. The first appearance of the term in literature is in the diary Guki by Sanjonishi Sanetaka (1455-1537), in the entry for August 1, 1487, which reads "Tsui-kou bon Kamakura items," in the entry for August 1, 1508, which reads "Bon incense container Kamakura items," and in the entry for August 1, 1524, which reads "I-bon Kamakura items," and the "Kamakura items" in these notes are understood to refer to lacquerware made in Kamakura. Later, the widespread use of the name Kamakura carving is evident from the Edo period art dictionary Manpo Zensho (completed in 1694), which states, "Kamakura carvings resemble Chinese items, but the inside appears to be made in Japan." He lists Echizen carving and Odawara carving (both now lost) as similar items, but also notes that they are similar to Chinese carved lacquerware. This is because Kamakura carving was intended to imitate carved lacquerware. Carved lacquerware is made by applying multiple layers of lacquer and then carving patterns and designs into them. There are different types depending on the color of the lacquer, such as tsuishu, tsuiko, tsuiyo, and kokariyokuyo. In China, there are carved wood lacquerwares with similar techniques to Kamakura carvings, such as tsuiko and touko, but it is not clear whether Kamakura carvings were influenced by them. On the contrary, the existence of carved wood lacquerware techniques in the Heian period is known from remains and documents, and the existence of this technique is particularly thought to be due to the fact that the Engishiki states that carved wooden slabs were painted with lacquer. There is also the ancient Negoro lacquerware called Hori Negoro, which features carvings, and similarities can be seen in this as well.

Looking at the remains of Kamakura carving, we can see that decorative motifs from crafts popular in China during the Song and Yuan dynasties, as well as Tang-style motifs such as peonies, plum blossoms, lions, diamonds, saya, cloud patterns, curved wheels, and swastikas, are favored. This shows that they were used in religious life, primarily by Zen Buddhist monks who had absorbed the culture of the Song and Yuan dynasties, and is often seen on incense containers, whisks, and front desks. Common patterns can also be seen in architectural decorations, such as the loincloths of dais.

Kamakura carving was created by Buddhist sculptors living in Kamakura, and was a side job for them, but after the Meiji period, as demand for Buddhist sculptors' work decreased, Kamakura carving became mainstream as a household item. Even today, the Mitsuhashi, Goto, and Izawa families of Kamakura Buddhist sculptors who continue the tradition have established their own schools of Kamakura carving, and each is thriving. In particular, after the Second World War, it became popular as a hobby craft for ordinary women through private lessons and classes, but in organizational terms, Kamakura carving halls were built, cooperatives were formed, and it was designated a "traditional craft" by the Ministry of International Trade and Industry (now the Ministry of Economy, Trade and Industry), and it became a thriving industry.

[Goka loyal retainer]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

木地に文様・図柄を彫り出し、その直接の表面に漆を塗った漆工技法。またその漆器。彫木塗漆(ちょうぼくとしつ)ともいう。漆塗りの種類は、黒漆の下地に朱漆を塗る場合が多いが、黒漆のみの場合もある。近代では朱漆が半乾きの段階で真菰(まこも)（まこも墨）や油煙の粉をまいて、やや黒みがかった赤色の漆塗りが特色となっている。また朱と緑の彩漆(いろうるし)を塗り分け、ときにはところどころに金箔(きんぱく)を押し散らした彫木彩漆を含む場合もある。

　起源は明確でないが、鎌倉の地で発生したことを物語る伝説が『桜鳴漫録』（『古事類苑(こじるいえん)』産業部）にあり、これによると、仏師運慶の孫康円が宋(そう)人陳和卿(ちんわけい)とともに法華(ほっけ)堂の仏具をつくった際、これに施した漆技が始まりとある。文献上の初見としては、三条西実隆(さねたか)（1455―1537）の日記『愚記』の長享(ちょうきょう)元年（1487）8月1日の条に「堆紅(ついこう)盆鎌倉物」、同永正(えいしょう)5年（1508）8月1日の条に「盆　香合鎌倉物」、同大永(たいえい)4年（1524）8月1日の条に「居盆鎌倉物」とあり、この注記の鎌倉物とは、鎌倉でつくられた漆器を示すものと解せられる。下って鎌倉彫という名称が広く使用されたことは、江戸時代の美術事典である『万宝全書』（1694成立）に「鎌倉雕(カマクラホリ)雕物唐物(からもの)に似たれども内のつくり日本物と見ゆる也(なり)」とあることでわかる。その類似品に越前(えちぜん)彫、小田原彫（以上現在亡失）もあげられているが、唐物すなわち中国の彫漆(ちょうしつ)類に近似していることも記している。これは鎌倉彫が彫漆の模造を目的としていたからである。彫漆とは、漆を何層にも塗り重ね、そこに文様、図柄を彫刻したもので、彩漆によってその種別があり、堆朱(ついしゅ)、堆黒、堆黄、紅花緑葉(こうかりょくよう)などがある。中国でも鎌倉彫と技法が同様の彫木塗漆のものに堆紅(ついこう)、罩紅(とうこう)があるが、鎌倉彫がその影響を受けたかどうかは確かではない。むしろ、平安時代に彫木塗漆の技法があったことは、遺品や文献上からも知られ、とくに『延喜式(えんぎしき)』に彫木几案(きあん)に漆を塗ったと記されていることからも、この技法の存在が考えられる。また古くから伝わる根来(ねごろ)塗にも彫刻を施した彫(ほり)根来があり、これにも類似性が認められる。

　鎌倉彫の遺品をみると、中国の宋(そう)・元(げん)代に流行した工芸品の装飾文様や、唐風文様である牡丹(ぼたん)、梅、獅子(しし)、菱(ひし)、紗綾(さや)、雲形、屈輪、卍(まんじ)などが好んで用いられている。それは、宋・元の文化を摂取した禅宗の僧侶(そうりょ)を中心に、宗教生活に利用したことを示すものであり、香合をはじめ、払子(ほっす)、前机によく表れている。また文様の共通表現は須弥壇(しゅみだん)の腰間などの建築装飾にもみられる。

　鎌倉彫の制作者は鎌倉在住の仏師で、その副業的な製品であったが、明治以降、仏師としての仕事の需要が少なくなると、生活用具としての鎌倉彫が主流化した。今日でも伝統を受け継ぐ鎌倉仏師の三橋(みつばし)家、後藤家、伊沢家が鎌倉彫の流派をたてて、それぞれ盛況である。とくに第二次世界大戦後、一般婦人の趣味の工芸品として個人教授や教室によって普及したが、組織的には、鎌倉彫会館が建設され、協同組合が結成され、通産省（現経済産業省）の「伝統的工芸品」に指定され、産業的に盛んになった。

［郷家忠臣］

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