Category: Section 3: Decoration

by Shirleen

‘Japan in a Nutshell’ is a series of books written by Japanese author Atsuharu Sakai, who intended for these books to give an overview on Japanese culture, history and traditions to Americans during the United States occupation of Japan (1945-52). The series consists of two volumes; both bearing the same title with the exception of the volume numbers. The current volume on display is the first volume in the series, focusing more on the religion, culture and popular practices in Japan.

This particular copy of the book is protected with a sleeve with an array of fans with varying patterns. Each fan is drawn in three distinct colours of red, green and gold. Each fan has a different pattern, illustrating the different Japanese patterns of florals, geometry and nature. These patterns are commonly found on kimonos and traditional Japanese clothing such as “wagara”, and date back to the 8th century. Additionally, the sleeve also serves as a protector to the actual book encased inside. For this copy, the spine of the sleeve has been severely damaged. The sleeve is comparatively more brittle to the rest of the book. The decorative aspect is hindered by the fragility of the sleeve and requires more care than the rest of the book. Nonetheless, the sleeve provides an interactive and engaging experience that draws in curious readers and collectors.

The book itself is bound in a traditional form of Japanese book binding called yotsume toji, or “Four-hole bookbinding”. There are 4 holes poked through the papers and cover that are used for the main binding of the compiled papers and the cover, whereas 4 small holes are used for inner bindings of the papers themselves. This is to ensure that even with the main binding thread broken, the pages inside would not scatter and there would be no need to rebind the book. To add to the authenticity, the book is also covered in various Japanese imagery such as origami, mallets and scrolls.  With the gold linings, the book evokes nobility and value, positing it as a valuable piece to a collection. The cover of the book is made of cloth and creates a rough texture of the book that is reminiscent of traditional Japanese books. The papers used are thin lightweight material called ‘scritta’ that are commonly found in bibles. The scritta is also a durable material that prevents deterioration and yellowing as evidenced by the current state of the book.

The book is completely written in English with detailed explanations on many different aspects of Japanese culture. Occasionally, stamped images are imprinted next to texts to illustrate the content. Most of the stamps are popular images seen in Japanese history and culture, providing an authentic insight and appreciation for Japanese art and the knowledge behind them. While the translation and aestheticisation of the book raises questions of exoticisation, the author himself is Japanese and the publisher is located in Yokohama, emphasising its genuine nature as both a source and a decorative piece.

by Sherman Tham Kin Yang

Aucassin and Nicolette adopts a unique literary form that alternates between prose and verse, combining elements of both storytelling and lyrical poetry. The version on display was published initially in 1899, translated from French by Andrew Lang, a British folklorist and literary scholar renowned for his translation work in preserving and popularising medieval and fairy-tale literature. The Roycrofters, who published the book, were a reformist community of craft workers and artists in East Aurora, New York.  Their work and philosophy grew to shape the development of architecture and design in late 19th century America.

Originating from the 13th century, Aucassin and Nicolette is one of the last few surviving chantefables and uniquely stands out for its clever blend of high romance and comic and unconventional characters. Unlike conventional medieval romances which often feature chivalric ideals, this work actively subverts expectations by portraying Aucassin as an unconventionally reluctant knight who abhors and rejects violence, while his love interest, Nicolette, displays wit and agency uncommonly displayed in female characters of the 13th century’s conception of gender norms and social mores. The enduring appeal of Aucassin and Nicolette lies in its unconventional storytelling, underpinned by its clear inversion of medieval literary tropes that subvert traditionally entrenched conduct of chivalry.

The displayed edition was published by Roycroft, an American artisan community established in late 19th century America as part of the growing Arts and Crafts movement. Roycroft emphasised high-quality bookmaking and craftsmanship, often producing works with an intricate typographical design and hand-illuminated embellishments. Thus, it renders the book not merely a literary masterpiece, but also a timeless physical artifact of 19th century fine craftsmanship. Andrew Lang’s adaptation uplifted and played a fundamental role in bringing Aucassin and Nicolette to an English-speaking audience, with his rendition preserving the lyrical qualities that define the original French text. In doing so, it retains the whimsical and novel interplay between prose and verse that defines the chantefable tradition. The book’s materiality, with its handcrafted details, enhances its value not only as a reading experience but also as a collectible artifact worthy of conservation. Bound in soft suede leather, the cover has aged, giving it an organic quality that reflects the craftsmanship and artistic movement to adopt natural materials in lieu of industrialised production. The faded brown tones and worn edges enhance its artisanal definition. Furthermore, the embossed rectangular panel containing an intricately aesthetic illustration appears to be strikingly iconic. The cover blends the use of gold lettering with an elaborate, medieval-inspired design, where the depiction of figures and motifs evokes the era of the chantefable. The use of gold embossing, though carefully embedded in a subtle fashion, draws our attention to the title, underscoring an elegant yet humble state of authority. Through the careful use of detailing and use of organic materials, it strengthened its timeless quality by adopting traditional bookmaking techniques one might expect of the Arts and Crafts movement. Thus, this artistic approach serves to bridge its connection to both medieval literary traditions and the late 19th century revitalisation of artisanal production.

by Samara Chee Zhao Ern

Books of Hours were some of the most commonly owned books in the late Middle Ages and would often be the first (or only) book owned by literate individuals. They were also packed with sentimental value; records show many Books of Hours being given to one’s child or loved one and being handed down through families; some books include dates of births, deaths, marriages, baptisms, and more. Due to their popularity and sentimentality, they allow us to take a look at the culture and beliefs of the late Middle Ages.

Books of Hours were divided into sections such as calendars, prayers and litanies, psalm, verses, and more. The leaf on display is taken from the calendar section, with important feast dates and holidays marked out at the top in two columns, and two simple precepts written below the dates. The first precept is written in Latin and taken from a series of ‘characterisations’ of the various months; for example, the precept for June associates the month with mead and beer. The second precept is written in Middle French and explains that since June is the month where things begin to die (leading up to autumn and winter), a 36-year-old man should be looking for a wife before he enters the metaphorical autumn and winter of his life. This reveals social expectations of the time; for example, bachelors in their mid-thirties were expected to be looking for wives before it was too late for them.

This particular leaf comes from an early printed Book of Hours, soon after the transition from manuscript to print. Prior to mechanical printing, Books of Hours were entirely hand-written and hand-illustrated; combined with the labour and manufacturing costs for parchment or vellum, these books were expensive. However, Books of Hours were still bought by people from all classes, from aristocrats to merchants to tradesmen to commoners; hence the Book of Hours’ reputation as ‘the medieval best-seller’. With the invention of mechanical printing, the cost of the books dropped, and printers and publishers capitalised on the demand for Books of Hours to make a significant profit.

Despite the shift to print, this leaf (and many others like it) retain elements of the manuscript tradition to appear more familiar to readers and thus increase their appeal. For example, the displayed leaf contains red lines running across the page; these lines are called ‘rulings’ and were used to write in straight lines. With mechanical printing, such rulings were unnecessary, marking their presence as purely aesthetic. The initial letters at the top of the page (on the displayed leaf, the illustrated ‘K’) were also hand-painted on after printing. Part of hand-painting the initials is due to the difficulty of printing in multiple colours, but also to maintain continuity with manuscript traditions. The leaf then indicates that new printing technology did not significantly change the appearance of books; rather, printers took care to ensure printed leaves appeared familiar to their readers.

The leaf thus offers a window into life in the late Middle Ages, marking the transition from manuscript to print and reflecting the social culture of the time period.