於八十年代出生的我，小時候擁有過數個筆盒，當時最流行的學童筆盒款式包括印有卡通圖案的鐵筆盒，和內藏多個小間格的塑膠筆盒。到了中學，筆和文具都一併放進大容量的筆袋裡，筆盒這東西從此淡出了我的生活。直至近來遇上這個黑漆木筆盒，上面的風景圖案已褪色得無可辨認，使我對之產生無比的好奇。
Born in the 1980s, I had had in my possession a few pen cases before in my childhood. Back then, among the most popular pen case designs for students include those iron pen cases decorated with cartoon illustrations as well as plastic ones containing plenty of small compartments. During my secondary school years, both pens and other stationery items are put together into pen bags with a huge capacity, and since then, pen cases have faded away from my life. But recently, I have stumbled upon this wooden pen case with black lacquer finish. The landscape painted on its surface has faded beyond recognition, which inspires immense curiosity in me.
漆液來自漆樹，從漆樹上剛採割並處理過的樹脂稱為「生漆」，經過加熱處理的「生漆」便是「熟漆」。無論是「生漆」或「熟漆」，兩者都是漆器製作中常用的漆料，「漆器」則泛指外表覆蓋著漆的容器，漆層能為木製或竹製的容器帶來防潮、耐熱和耐磨等保護性作用。日本人早於公元前四百年便開始製作漆器，它在日本的傳統飲食文化或花道、茶道等傳統生活習俗上有著相當重要的位置。
Lacquer comes from lacquer trees, and the sap tapped from the trees and processed is called “raw lacquer”, which further becomes “processed lacquer” after being heat-treated. Both raw lacquer and processed lacquer are the most commonly used materials for finishing in lacquerware. Lacquerware refers in general to containers covered with lacquer on their surface. The layer of lacquer can serve to protect wooden or bamboo containers against humidity, heat and abrasion. Since as early as 400 BC, the Japanese already started making lacquerware, which has played a key role in the traditional lifestyle and customs in Japan as reflected in its traditional food culture, Kadoh, the art of flower arrangement, or Chado, tea ceremony.
經過二千年的歷史沉浸，日本人已發展出最上乘的漆器工藝，其無人能及的耐心和仔細度，是它令世人著迷的原因。上乘的日本漆器表面光滑如鏡，沒有一絲瑕疵，一件最好的漆器甚至需花上十年的製作時間，工序繁複，心力耗盡。日本人有句說話：「需要泛舟到海中心才可以為漆器掃上最後一層漆」，道出了漆層不能黏上一丁點微塵的嚴格要求。
After going through two thousand years in the current of history, the Japanese has cultivated the finest lacquerware craftsmanship, and their unrivalled patience and attention to detail explain why it has captured the imagination of the people of the world. Exquisite Japanese lacquerware boast a surface as shiny and smooth as a mirror without even a tiny flaw. A piece of lacquerware of the finest quality can take as much as a decade to make, involving complicated procedures and all-out physical and mental effort. In Japanese, there is a saying that goes “urushi (lacquer) should be applied in a boat at sea”, which encapsulates its stringent standard of not tolerating even a tiny bit of dust on the lacquer lay.
後來，日本漆器漸於西方流行起來，無論是英國人、法國人或意大利人，無一不傾慕日本人的漆器技藝，日本漆器瞬間成為西方上流社會收藏名單的榜首。十七世紀末一直流傳一個說法，日本人不屑把最好的漆器出口到西方，他們認為最好的東西必要留存國內。此做法令西方國家對日本漆器求過於供，漆器熱不單沒有退卻，反之吹得更盛。意大利帶頭成為首個開發生產漆器的西方國家，所謂生產，其實是盡可能仿照日本漆器去複製，包括各類的容器和家具。
In the later years, Japanese lacquerware gradually gained popularity in the West. People from the UK, France and Italy alike are fascinated with Japanese’s lacquerware craftsmanship, thereby catapulting Japanese lacquerware into the top on the list of collectables among the upper-class in the western world. In the late 17th century, a saying went around alleging that the Japanese detested the idea of exporting the best lacquerware to the West, and they believed that the best must be kept within the country. As a result, the demand for Japanese lacquerware exceeded its supply, and the craze for Japanese lacquerware not only did not die down, but became even more intense. Italy took the lead and became the first western country to produce lacquerware. The production, in truth, amounts to an imitation, as close as possible, of the Japanese way of making lacquerware, including containers and household products.
「Japanning」一詞從此誕生，意指西方國家「對日本漆器的仿製」，是一個帶有諷刺意味的名詞。既然有利可圖，其他西方國家也趕緊開設「日本」漆器工廠，把充滿東洋味的漆品帶進有錢人的生活裡去。一國文化跨越大海遠航到地球另一面，恐怕當中最珍貴的精粹已盡然丟失，只堪剩下脆弱的外殼。儘管大家努力地學習日本的漆藝技法，西方人的思維和生活模式和日本人始終差異太大，使「Japanning」漆器流於形式化，顯得有形無實。
This has led to the birth of the term “Japanning”, a noun with an ironic overtone which refers to the “imitation of Japanese lacquerware” by western countries. Eyeing potential profits, other western countries also rushed to set up “Japanese” lacquerware factories, bringing oriental-style lacquerware to the life of the rich. When a culture of a country crosses the ocean on a long journey to the other side of the world, its most precious essence will all be lost on the way. What remains, sadly, is no more than the fragile outer surface. Despite Westerners’ best efforts to learn Japan’s lacquerware craft, their thinking and lifestyle, after all, were too different from the Japanese’s. As a result, “Japanning” lacquerware became somewhat formalistic, giving the feeling that it has the material form but lacks concrete substance.
話雖如此，「日本」漆器總算得以在西方發揚光大，而我手上的這個「日本」筆盒，實際就是法國人在二十世紀初製作的「Japanning」漆器之一。歷史上它是一個仿製品，但我認為並非一無是處，反而有些叫人欣賞的地方。首先，經歷了近一百年（包括上一手賣家的惡劣寄運），盒上雖有多處缺角，木盒依然堅固完整，木材質素認真不錯；另外，盒面修成微曲的弧形，合上時與盒身完美連接，工藝一流。
Nevertheless, Japanese lacquerware at last witnessed a rise to popularity and prominence in the West. In fact, this “Japanese” pen case I have with me is actually one of the lacquerware designed by the French in the early 20th century. Historically speaking, it is an imitation, but in my opinion, it is not completely a good-for-nothing. Quite the contrary, it actually boasts qualities worthy of admiration. First of all, after almost one hundred years in existence (including the unfortunate circumstances of the previous owner), despite having chipped corners here and there, the wooden case remains firm and intact, which testifies to the fine quality of the wood. Furthermore, the surface of the case, being slightly curved, fits in perfectly with its body, which speaks to top-class craftsmanship.
漆器以往於我的印象是光亮而精緻的，做工有時仔細得過份，這種過度完美的工藝反而讓物件與人產生了距離，難以把它融入生活。這筆盒顯然不是用最上乘的黑漆，經多年使用後，變啞色的漆面已佈滿花痕和凹處，褪色的手繪風情畫幻化成拼湊不成意思的碎片，邊沿的漆也磨損並露出了底層的木紋：這一切都在說明它過去曾作為一個稱職的筆盒的一生。盒裡盛載的豈只是文具，更是回憶。
I used to have an impression of lacquerware being glossy and delicate, and showcasing an attention to details that is at times excessive. Such an excessive pursuit of perfection in the craft creates a divide between the object and the person, making it difficult to blend it in with life. Apparently, this pen case was not made with black lacquer of the best quality. After many years of usage, the lacquer surface has lost its luster and is already covered with scratches and dents. Hand-drawn landscape on its surface has faded in color, transforming itself into an unintelligible collage of broken pieces. Lacquer on the edges has also been damaged, exposing the wooden surface underneath – all of these tell the story of its life as a competent pen case. What is stored inside the case is certainly not only stationery, but also memories.
