典藏單位:國立中正紀念堂管理處

館藏編號:PT09600500

藤林知花

尺寸:54.5x94.5x5.5(含框)

襲名為第十四代藤林德扇的藤林知花，是繼第十二代藤林德扇後受到聯合國教科文組織(UNESCO)認定的知名日本漆藝作家。其作品風格與題材，承繼藤林家的優良傳統，以帶有皇室趣味、優美且高尚的紋樣設計著稱。例如，清雅、高尚格調的腰帶及和服最為知名，沿用第十二代以金、銀、紅玉、青玉、綠柱石、鑽石、珍珠等粉末作為繪畫材料的技法(所謂德扇蒔繪)進行創作，並結合京都西陣織的染織技術，成功描繪出華麗精湛的漆藝作品。
　　蒔繪(Maki-e)，是日本漆工藝中利用粉狀物灑落作畫的一種獨特表現技法。德扇蒔繪與傳統蒔繪僅利用金銀粉有所不同，多方利用寶石粉末的手法，使畫作呈現更加生動而多彩的變化，營造出全然不同的視覺效果，廣為人們所喜愛、欣賞及讚嘆。
　　此幅描繪京都名所清水寺初春景緻，與第十二代的同名作品表現技法及視角類似，透過掩映扶疏的盛開櫻花及清水寺古老建築，眺望京都市區景色，美不勝收。其色彩偏向寒色調性，賦予觀者一種初春常有的冷冽感，山寺周邊氛圍清新寧靜，並將櫻花比重加大，藉以凸顯其綻放紛呈的詩意畫境，而遠方的嵐山層疊交映，更使畫面增添幽遠玄妙之感。作者一方面承繼家傳題材技法，表現傳統圖像，另一方面更試圖形塑個人風格，展露身為女性特有的纖細、溫柔及浪漫美感。(507字)

Fujibayashi Chibana, who inherited the stage name of the 14th generation of Fujibayashi Tokusen, is a well-known Japanese lacquer artist recognized by UNESCO after the 12th generation of Fujibayashi Tokusen. Her style and subject matter inherit the fine tradition of the Fujibayashi family, and is known for her elegant and noble pattern designs with a touch of royalty. For instance, her works on the obi and kimono, which are known for their elegant and noble style, were transformed under her craft. The artist used the 12th Fujibayashi’s painting technique (so-called Tokusen maki-e): painting the obi and kimono with gold, silver, carnelian, lapis lazuli, beryl, diamonds, pearls, and other powders. Furthermore, the artist further combines her work with the dyeing technique of Kyoto Nishijin-ori to create gorgeous and exquisite lacquer works on the obi and kimono.
Maki-e is a unique technique in Japanese lacquer art painting that uses spraying powders to draw. Different from the traditional maki-e that only uses gold and silver powders, the use of other precious stone powders gives the painting a more vivid and colorful appearance, creating a completely different visual effect that is widely loved, appreciated and admired.
This painting depicts the early spring scenery of Kiyomizu Temple, a famous place in Kyoto. The technique and perspective are similar to that of 12th Tokusen Fujibayashi’s work of the same name. The view of downtown Kyoto portrayed between the numerous cherry blossoms and the old buildings of Kiyomizu Temple are breathtaking. The overall painting has a cold color hue, which mirrors the mellow chilliness often found in early spring. The temple is portrayed in a fresh and tranquil vibe; the magnification of the cherry blossoms further highlights the poetic scene. The overlapping mountain in the distance adds a sense of mystery. On the one hand, the author inherits the family’s techniques and expresses the traditional images; on the other hand, she tries to innovate her own style, revealing her unique feminine, gentle and romantic aesthetic in arts.