Hikibaku لوحة الفن / منتصف الليل شمس

تستخدم هذه اللوحة الفنية تقنية «هيكيباكو»، وهي تقنية تقليدية دعمت منسوجات نيشيجين لفترة طويلة.

وتتجلى فلسفتا «وابي» و«سابي» اليابانيتان في استغلال خاصية الفضة التي يتغير لونها من خلال عملية الكبرتة.

العرض：25.7 سم
الارتفاع：36.5 سم
العمق：1.5 سم
الوزن：264 جم

ورق فضة

NISHIMURA SHOUTEN

"Expanding the technique of hikibaku into various fields"

Thanks to the ingenuity and creativity of our predecessors, hikibaku has evolved into a technique with a rich variety of expressions.

We believe it is a material and method that can be applied not only to traditional Japanese attire, but also across a wide range of genres.

While continuing to share the unique beauty that only hikibaku can convey,we are also committed to nurturing the next generation of artisans involved in traditional industries.

ARTISAN STORY

Nishimura Shouten

Founded in 1924, the company began as a shop specializing in gold and silver threads as well as hikibaku (decorative foil).

In the 1960s, amid a surge in demand, the business shifted from general gold thread production to focus exclusively on hikibaku, growing into a large workshop with around 20 skilled artisans.
It was also during this period that the variety of hikibaku expanded—not only producing kin-muji-haku (solid gold foil sheets), but also developing new styles tailored to customer needs.

Today, we continue to explore the creative potential of hikibaku, crafting once-in-a-lifetime designs through a combination of diverse techniques and refined artistic sensibility.

KYO WARE & KIYOMIZU WARE

About 1,200 years ago / 800s / Heian Period (794–1185)

Kyoto ceramics reach back to kilns operating before and during the Heian period, then expanded with tea culture in the Muromachi and Momoyama eras. In the seventeenth century, Nonomura Ninsei perfected brilliant overglaze decoration, followed by innovators such as Ogata Kenzan, Okuda Eisen and Aoki Mokubei, whose diverse approaches shaped today’s Kyo and Kiyomizu ware.

In Japan, these ceramics are famous precisely because there is no single fixed style. Tea bowls, kaiseki dishes and everyday tableware may use overglaze painting, blue-and-white decoration, gold, sancai-inspired color and many other techniques. The craft sits at the heart of Kyoto’s culture of pairing vessels with cuisine and tea.

The surprising point is that Kyoto was never defined by a single major clay deposit. Potters drew on materials such as Amakusa porcelain stone, techniques arriving from other regions, and the tastes of artists and patrons gathered in the capital. Freedom from one local material helped make Kyoto ceramics unusually hybrid and stylistically diverse.

الاختلافات الفردية

نظرًا لأن كل قطعة تُصنع يدويًا بشكل مستقل، فقد تطرأ اختلافات طفيفة في اللون والنمط والشكل والملمس. وتُعد هذه الاختلافات الدقيقة من الخصائص الطبيعية للأعمال اليدوية، ما يجعل كل قطعة فريدة من نوعها حقًا. نأمل أن تستمتعوا بهذه الاختلافات الفردية كجزء من جمال الحرفية اليابانية وطابعها المميز.

مدة الإنتاج

إذا لم يكن المنتج متوفرًا في المخزون حاليًا، فقد يقوم الحرفي بتصنيعه حسب الطلب. ونظرًا إلى أن كل قطعة تُصنع يدويًا بعناية، فقد يستغرق الإنتاج عدة أشهر، وذلك حسب المنتج وجدول الحرفي. نقدر صبركم وتفهمكم.