@article{oai:rekihaku.repo.nii.ac.jp:00002740,
 author = {宮里, 正子 and Miyazato, Masako},
 journal = {国立歴史民俗博物館研究報告, Bulletin of the National Museum of Japanese History},
 month = {Mar},
 note = {application/pdf, 1429年に成立した琉球王国は，1879年の沖縄県設置までの450年間にわたり，独自の国家を保持してきた。14世紀から始まる中国との冊封・朝貢関係に加え，1609年の薩摩・島津氏の侵略以降は，日本の幕藩体制にも組み込まれる日支両属の関係が続いた。琉球王国は，中国や日本，朝鮮そして東南アジア諸国との交易を経済基盤とした国家運営方針を図った。その結果，琉球ではアジア諸国の人・モノ・情報が行き交い，国際色豊かな「琉球文化」を創出した。とりわけ，漆器は中国皇帝や日本の将軍や大名への献上品であり，さらに経済基盤を支える交易品として王国外交を支えた。王府は漆器の生産管理部署として貝摺奉行所を設置し，王国の誇る漆器の品質保持に努めた。琉球では，材料や技術などをアジア各地に求めつつも，その湿潤な風土が螺鈿・沈金・箔絵・堆錦など豊かな加飾技法を育み，特色ある琉球漆器の美を確立した。
1879年(明治12)の沖縄県設置により王国は崩壊し，献上漆器の生産の中核であった王府機構の貝摺奉行所も解体した。以降，沖縄県の漆器は殖産興業として民間工房へと製作が転換していった。「王朝文化の華」と謳われた琉球王国の漆芸であるが，王国の崩壊や今次大戦の戦禍により伝世品や技術などが消滅した。
僅少な史資料の琉球漆芸であるが，近年の理学調査による分析研究の成果で，科学的・客観的な情報が共有され，新たな琉球漆芸のすがたが構築されつつある。
本稿では，文書記録類や現存作品に管見ながら可能な限りあたることとした。「琉球漆芸史の概略」，「琉球列島の漆樹」，「王家に関わる可能性のしるし」，「琉球国王から中国皇帝へ献上された漆器」などの観点から述べる。, The Ryukyu Kingdom, established in 1429, preserved their nation for 450 years until the establishment of Okinawa Prefecture in 1879. In addition to the tributary relationship with China that began in the 14th century, bilateral relations embedded in Japan’s shogunate system continued since the invasion of the kingdom by the Satsuma and Shimazu Clans in 1609. The Ryukyu Kingdom devised national administration policies with their economic foundation based on the trade with China, Japan, Korea, and various other Southeast Asian countries. Consequently, people, goods, and information from various Asian countries passed through Ryukyu, and an internationally rich Ryukyu culture was formed. In particular, lacquerware were presented as offerings to Chinese emperors or Japanese shoguns and daimyos. Furthermore, lacquerware contributed to the kingdom's foreign relations as trade goods, thus supporting its economic foundation. The royal government established the Kaizuribugyosho as the position of managing the production of lacquerware and endeavored to maintain its quality in which the kingdom took pride. While Ryukyu lacquerware demanded materials, techniques, etc., from various parts of Asia, the wet climate of Ryukyu nurtured rich decoration techniques, such as Raden (mother-of-pearl), Chinkin (gold-inlaid lacquerware), Hakue (gold leaf pictures), and Tsuikin (Ryukyuan technique), and established the distinctive beauty of Ryukyu lacquerware.
The kingdom fell in 1879 through the establishment of Okinawa Prefecture, and the royal governmental institution that was the Kaizuribugyosho, which was the core of the production of lacquerware used as offerings, was also dismantled. Since then, circumstances began to change, with the lacquerware of Okinawa Prefecture being produced in private workshops as a promotion of industry. The lacquer art of the Ryukyu Kingdom was famed as a treasure of dynastic culture, but through the kingdom's fall and the chaos of World War II, techniques, lacquerware handed down from generation to generation within families, etc., vanished.
Although there is only a very small number of Ryukyu lacquer art historical materials, with the results of analytical research through physical investigation of recent years, scientific and objective information has been shared, and a new shape of Ryukyu lacquer art is being constructed.
In this paper, I decided to work on written records and existing lacquerware as much as possible, although it may only be within my narrow personal view. I will explain from viewpoints such as “The Summary of Ryukyu Lacquer Art History,” “The Lacquer Trees of the Ryukyu Islands,” “Symbols that are Possibly Involved with the Royal Family” and “Lacquerware Offered by the King of Ryukyu to the Emperor of China.”},
 pages = {275--299},
 title = {[論文] 琉球・沖縄の漆芸},
 volume = {225},
 year = {2021},
 yomi = {ミヤザト, マサコ}
}