A RARE NEGORO FOOTED BASIN, MUROMACHI PERIOD, 14TH -15TH CENTURY

This three-legged bowl is made of wood in the negoro-nuri (lit. Negoro lacquer) technique. The name derives from the Negoroji (Negoro temple) in Kishu province, where the technique is thought to have originated in the late 13^th century, not coming into its own until the Muromachi period (1392-1568). The lacquerware was made by monks of the temple in their spare time up until its destruction in 1585, though some returned at a later date and resumed producing lacquer. At around the same time, negoro-nuri became a generic term for related wares in a similar style that were made outside the temple.

The term negoro-nuri is used to describe a distinctive type of undecorated lacquer. Typical wares consist of wood covered in several layers of black lacquer, over which red lacquer was applied, though usually only a single layer. Not only was red lacquer considered a luxury and was very expensive, but its use was also forbidden for household items. Through repeated use over time, the upper red lacquer surface suffered wear and tear round the edges and on the surface, exposing irregular and random patterns of black lacquer underneath. More rarely Negoro wares also include items in which part of the wood substrate was left visible, over which translucent lacquer was applied, a technique known as kijiro-nuri, drawing attention to the grain and pattern of the wood. It is such a combination of Negoro techniques that are used on the three-legged bowl under discussion. Parts of the bowl are covered completely with a type of monochrome red or black lacquer that is often described as ‘thick’ and ‘tough’. In sharp contrast, semi-transparent lacquer was applied directly onto the continuous wooden side.[1] The inner surfaces of the bowl are all covered in layers of red over black lacquer. In the centre there is evidence of several layers of red which also show particular wear and tear. 

Monks of the Negoro temple originally made wares for their own use associated with religious practice, such as altars and fittings, as well as small tables. The majority of Negoro wares, however, are largely connected with eating, drinking and the storage of food, such as bowls, dishes, wine bottles and oil jars, many of which are depicted in contemporary paintings.[2] A very similar example to the one under discussion here with a combination of black, red and translucent lacquer over natural wood and dating to the Muromachi period, can be found in the Freer Gallery of Art, Washington D.C. though it is almost twice the diameter.[3] Large Negoro basins such as this were used to hold water for the rinsing of hands in preparation for the fusatsu-kai, the monthly Buddhist ceremony of repentance for sins.[4] On account of its small size, however the Sotheby’s bowl is unlikely to have served the same function as the larger item but, instead, it was probably used for the serving or offering of rice.[5] Among Negoro wares, a distinction can be made between those with a marked Chinese or Japanese influence. The three-legged bowl reveals Chinese influence in particular design elements, such as the use of scrolls and the fact that it is a bowl with individual feet.

The outer storage box for this three-legged bowl was inscribed at a later date by Sano Chokan (1791-1863) or (1794-1856), a lacquerer who worked in a distinctive style. It states that the date of manufacture of the bowl is the Kenmu period (1334-38) and that it is an example of Negoro ware, corroborating what can be deduced from a visual examination.

The somewhat simple and austere aesthetic of Negoro lacquerware which very much accords with the concepts of wabi /sabi (which is very difficult to define briefly), contributed enormously to its popularity over the years. Even today its utter simplicity and natural patina acquired through natural wear and tear is highly prized.

[1] Other comparable examples in terms of techniques and forms can be found in Okada Jo, Nihon no Shitsugei, vol.5, Tokyo 1978, pls. 95, 97, 98, 99, 104, 105, 107 and 108.

[2] Saburo Ienaga, Painting in the Yamato Style, Heibonsha Survey of Japanese Art, vol. 10, pl.55 and Penelope Mason, History of Japanese Art, Harry Abrams, Inc., 1993, colorplate 35, p.185.

[3] Yonemura, Ann, Japanese Lacquer, The Freer Gallery of Art, Smithsonian Institution, Washington, D.C., 1979, p.4, pl. 4, cat. 4.

[4] Tei Kawada, “Negoro-nuri”, Nihon no Bijutsu No. 120, p.69.

[5] Although of the same form, the larger item is termed a basin while the smaller a bowl.