Lacquer ware, A set of 5 bowls with lid with the rising sun and the moon design 日月お王ん　五

一般的な一閑張は和紙を張り重ねて漆で仕上げた軽いものをいうが、篆刻・書・陶芸で魯山人の世界を創りだした魯山人は、漆芸でも革新的な手法を取り入れ、この椀は山中塗の辻石齋と尾張鳴海の蒔絵師・稲塚芳朗を助手にして制作した。

丈夫さを求めた魯山人はまず、優れた耐久性をもっている欅材を使っている。
欅は日本の代表的な広葉樹、三十年間、充分に自然乾燥させた素材をもとめ、これを轆轤で極めて薄く挽かせ、成型した木地に糊漆（でんぷん粉に生漆）で和紙を張ってのち、乾燥をまって何度も漆を塗り重ねる技法で制作している。

さらに金箔と銀箔を特注して通常より厚みを倍以上にさせ、その上に金銀箔の砂子を蒔いた。
表情をだした金箔、銀箔を真円に裁断して糊漆で張ることで、一閑張の金銀箔にも微妙な皺ができる。

暖かみを持たせたふくよかな椀なり、雅味溢れる金箔は”陽の太陽”と銀箔は”陰の月”を表し、森羅万象の調和を表現した。

照りのある真塗りに輝く金銀は派手になり、肌触りに加えて質感が相応しくないと魯山人はいう。
これらが「用」を重んじた魯山人芸術の漆芸に対する真骨頂である。

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Ikkanbari is a type of lacquerware typically known for its lightness, created by layering Japanese paper and finishing it with lacquer. However, Rosanjin, who established his unique world through seal carving, calligraphy, and pottery, introduced innovative methods to lacquer art as well. This particular bowl was created with the assistance of TSUJI Sekisai, a Yamanaka lacquerware craftsman, and INAZUKA Yoshio, a maki-e craftsman from Owari Narumi.

Seeking durability, Rosanjin used zelkova wood, a traditional Japanese hardwood renowned for its exceptional strength. He procured materials that had been naturally dried for 30 years to ensure the highest quality. The wood was turned on a lathe to an extremely thin form and then shaped. Subsequently, layers of Japanese paper were adhered to the wooden base using a paste made from raw lacquer and starch powder. After drying, the piece was meticulously finished by applying multiple layers of lacquer in a repeated process.

Furthermore, he used specially ordered gold and silver leaf, which was more than twice as thick as the standard, and sprinkled powdered gold and silver over it.
By cutting these textured gold and silver leaves into perfect circles and adhering them to the surface with lacquer, delicate wrinkles naturally formed, adding unique character to the design.
The gold represents the Sun, symbolizing "Yang," while the silver signifies the Moon, representing "Yin." Together, they express the harmony of all things in nature.

Rosanjin believed that the brilliance of gold and silver on highly polished lacquer could become overly flashy, detracting from the desired tactile and visual texture. This philosophy highlights the essence of Rosanjin’s lacquer art, which emphasizes both functionality and aesthetic refinement.