L’ÉCOLE珠寶藝術學院舉辦全新展覽《赤銅：從武士裝飾到珠寶》。作為首個專門展示赤銅（shakudō）及其工藝的展覽，位於香港K11 MUSEA的L’ÉCOLE亞太區分校將從多個角度帶領公眾探討這種材料並呈現此日本珠寶工藝及迷人歷史。當中不僅展示赤銅在日本傳統中主要用於武士刀的裝飾元素（如刀柄和飾件），還將展出36件描繪了日本江戶時代的場景的赤銅珠寶。

L’ÉCOLE, School of Jewelry Arts located at K11 MUSEA, Hong Kong, is proud to present an upcoming exhibition titled “Shakudō: from Samurai Ornaments to Jewelry”. For this occasion, L’ÉCOLE highlights this medal traditionally used in Japan for the decorative elements of samurai swords (tsuba, menuki, kozuka, etc) and showcases 36 pieces of jewelry depicting Japanese scenes from the Edo period. 

Why it matters:

此次展出的珠寶作品均誕生于1860年至1880年間，淋漓盡致地诠釋了歐洲設計美學與日本精湛工藝的和諧共生，同時生動再現了當時亞洲文化風靡一時的盛況。展覽聚焦這一黑色金屬的獨特特性、廣泛用途及其悠久而迷人的曆史，所有展品均來自同一私人珍藏，首次向公衆揭開神秘面紗。

Hybrids between European aesthetics and Japanese technique, these jewels made between 1860 and 1880 illustrate the fascination with the asian culture at the time. For one of the first exhibition devoted to shakudō, L’ÉCOLE, School of Jewelry Arts highlights the technique, uses and fascinating history of this black metal traditionally used in Japan for the decorative elements of samurai swords. All the pieces come from a single private collection, shown to the general public for the first time.

展覽分爲三個部分，從赤銅的材質特點開始娓娓道來。此次展覽的珠寶作品，采用歐式鑲座設計，將鑲嵌金、銀和銅的赤銅裝飾點綴其間，勾勒出江戶時代（即東京前稱）的日本風情。赤銅裝飾的這門技藝可追溯至12世紀，在當時被用以替代武士刀上的彩漆裝飾，並逐步發展爲爐火純青的藝術形式。

Organized in three main sections, the exhibition begins with the technical aspects of shakudō. The creations with European mounts are adorned with shakudō elements inlaid with gold, silver and copper, depicting Japanese scenes from the Edo period. They have excelled in this art since the 12th century, when shakudō replaced urushi lacquer on swords.

4 Highlights:

• 赤銅如何從武士刀裝飾演變爲珠寶作品，其背後隱藏著一段跌宕起伏的曆史與政治事件。1853年，美國以武力迫使江戶幕府開放國門，與外界通商，史稱“黑船事件”。隨之而來的封建制度瓦解與現代化推進，致使武士階級日漸式微，直至1876年明治政府頒布廢刀令，徹底禁止武士佩刀。失去主要客戶的工匠們不得不尋求新的出路。在明治政府大力推動出口的政策驅使下，他們開始調整傳統赤銅工藝，以迎合歐洲市場的審美需求，逐步轉向制作赤銅材質的小型飾物。西方珠寶商被日本工匠的高超技藝深深吸引。他們利用金、銅、銀等材質展現出瑰麗色彩，並在革新過程中將赤銅元素巧妙融入歐洲珠寶設計之中，取代了傳統的浮雕和琺琅細工工藝。

• How did shakudō transition from swords to jewelry? The fascinating story has its origins in a political event: the forced opening of Japan to international trade during the Edo era, from 1853 onwards, under pressure from American “black ships”. The country’s modernization with the abolition of the feudal system led to the end of the samurai and the prohibition of sword-carrying in 1876. The metalworkers, deprived of their clients, were encouraged by the Meiji government’s export policy to adapt their production to European tastes. They began to manufacture small components in shakudō. In the West, jewelers discovered the virtuosity of Japanese craftsmen, capable of creating vibrant shades of gold, copper and silver. In search of renewal, they utilized these shakudō pieces and integrated them into their European settings in place of cameos and enamel miniatures.

• 赤銅這種合金由94%的銅和4%的金構成，因此呈現出紅色色調。爲賦予材質黑色光澤，工匠先用木炭去脂並打磨赤銅，再將其浸泡于化學溶液中。

• Shakudō is an alloy composed of 94% copper and 4% gold, which gives it its red color. To obtain its black patina, metalworkers degrease and polish it with charcoal before immersing it in a chemical solution. 

• 展覽借展藏品眾多，例如，一把來自香港兩依藏博物館的武士刀，與一件來自中國私人珍藏的刀刃交相輝映；一組來自法國私人珍藏的海報和繪畫，則形象闡釋了19世紀末席卷歐洲的“日本主義”熱潮，反映出彼時歐洲人對日本文化的深深迷戀。

• The three main sections of the exhibition are enriched with loans. The samurai sword from Hong Kong’s Liang Yi Museum stands alongside a sword blade from a private Chinese collection. Posters and drawings from a private French collection illustrate the prevalence of “Japonism” – the infatuation with all things Japanese in Europe at the end of the 19th century.

• 赤銅珠寶上繪製著描繪當時風俗的圖案，譬如歌舞、能劇以及神獸等，反映了和平繁榮的景象。這些赤銅作品嵌入了微型場景，參觀者可以借助放大鏡，細品慢賞栩栩如生的漁船、野生蘆葦和擬人化動物等形象。這些微型作品不僅承載著傳統世界的美好記憶，也映射出文化交融的精彩瞬間，例如，一件作品中刻畫了一名卸下盔甲的武士身著和服，悠然漫步于水邊的情景，象征著一個時代的終結和新風潮的興起。

• The shakudō pieces inlaid with miniature scenes are an endless source of surprise and wonder. Through magnifying glasses, visitors can discover the minutest details of fishing boats, wild reeds, and anthropomorphic animals. These miniatures also herald the end of a traditional world now subject to foreign influences: samurai, stripped of their warrior spirit, stroll along the water’s edge in kimonos.

Background: L’ÉCOLE

L’ÉCOLE珠寶藝術學院於2012年在巴黎市中心芳登廣場(Place Vendôme)開設，由高級珠寶世家Van Cleef & Arpels梵克雅寶支持創立，並於2019年11月在香港K11 MUSEA設立全球第二所學院。L’ÉCOLE是全球首間將珠寶世界的神秘面紗向大眾揭開的學院，不論是普羅大眾或是珠寶鑑賞家，皆歡迎修讀L’ÉCOLE的課程及參加其活動。除了全年在巴黎、香港及上海的永久校舍開辦的專題珠寶課程，L’ÉCOLE亦透過遠赴東京、紐約及杜拜等城市舉行各類特備課程、講座、展覽及書籍發行，將該學院的教育活動擴展至世界各地。除此之外，L’ÉCOLE亦以不同形式支持各類型的研究工作，包括與美術館及學術機構合作發表刊物和建立夥伴關係；製作網上教學短片，並設立以珠寶藝術書籍為館藏的專門圖書館。L’ÉCOLE的文化合作夥伴包括巴黎的裝飾藝術博物館(Musée des Arts Décoratifs)、法蘭西喜劇院(Comédie-Française)博物館、國立巴黎高等礦業學校(École des MINES ParisTech)，以及香港的兩依藏博物館和香港知專設計學院等。

L’ÉCOLE’s mission is to share jewelry culture with the widest possible audience. Founded in 2012 with the support of Van Cleef & Arpels, L’ÉCOLE, School of Jewelry Arts offers an exclusive program, revolving around three main themes: savoir-faire, history of jewelry, and the universe of gemstones. L’ÉCOLE welcomes the general public into the world of jewelry through courses, conferences, exhibitions and publications, in Paris, Hong Kong, Shanghai and Dubai—its four permanent sites—and in the rest of the world with traveling events.

Final tips:

從獨特的黑色金屬中，窺見江戶時代的日本風情。

When you look at this black medal carefully, Japanese scenes from the Edo period can clearly be seen.

《赤銅：從武士裝飾到珠寶》｜SHAKUDŌ: FROM SAMURAI ORNAMENTS TO JEWELRY

Date:

2024.12.11 – 2025.4.13

Venue:

L’ÉCOLE珠寶藝術學院亞太區分校｜ L’ÉCOLE Asia Pacific, Schools of Jewelry Arts

510A, 5/F, K11 MUSEA 尖沙咀｜ K11 MUSEA Tsim Sha Tsui

Courtesy to L’ÉCOLE Asia Pacific