L’art plus vrai que la nature

True-to-life Art

On the technical and aesthetic prowess of Japanese statuary.

Not long ago, Honoré des Arts had the chance to offer its customers a large Japanese bowl known as a "mizubachi". It may surprise our readers, but there was a debate among experts as to whether it was made of metal or of wood. The first explanation was the correct one but the illusion of wood work was so impressive, the imitation of the grain of wood, the warm red lacquered color so perfect that even touching it did not allow to form a quick opinion.

This technical and aesthetic feat quickly convinced a lucky buyer.

In the same spirit, our gallery proposes this large okimono from the Meiji era featuring a lobster. It is made of lacquered wood but one has to get quite close to it to dispel the question of whether it is a naturalized animal or not.

This is the genius of Japanese artists: they sometimes get so close to the animal model that doubts arise. They capture not reality but what the human eye would like it to be, a sort of quintessential lobster.

The border between the real and the artistic becomes unstable and disturbing. This is the human ambition: to interpret the world to reinvent it. It is a form of humility of the artist. By sticking to reality they demonstrate their virtuosity as craftsmen and reclaim it for themselves.

The question is often asked about the difference between okimono and netsuke. An okimono (置き物- "ornament") is simply a larger netsuke. Unlike netsuke, which serve as fasteners on the kimono, okimono are purely decorative.

Traditionally, an okimono is displayed at home in the tokonoma, a small alcove with a raised tatami floor, where calligraphy, prints in various formats, plants (ikebana, bonsai, kusamono) or other art objects are displayed.

Our lobster is remarkable in its size and virtuosity of execution. But while it seems so real, it will only be food for thought and sensitivity…

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