Description
Fine Japanese boxwood tortoise okimono. The Tortoise realistically carved with textured detail to the top shell and underneath complete with claws to each foot. The Tortoise looking to the left with its outstretched neck, the base signed with the characters 松山作 (made by Matsuyama). To the top of the Tortoise there is a slight carved section for pacing a crystal ball to the top. The Okimono is complete with its original tomobako dated on the to the 28th of May 1895 (明治二十八年五月) along with 小口一郎调之 Ichiro Oguchi and the maker again 松山 (Matsuyama).
Tortoise According to traditional Japanese beliefs, the Tortoise is a haven for immortals and the world mountain, and symbolizes longevity, good luck, and support. It is the symbol of Kompira which is a Japanese god of the Shugendo sect originating in the mountain Kotohira, Kagawa Prefecture. He is the god of merchant sailors and all seafaring people.
Rock Crystal Japanese rock crystal spheres were favoured as decorative objects in the Meiji period (1868–1912). Originally they were cut from blocks of rock crystal quarried in central Japan, the rough spheres were painstakingly polished by hand using an abrasive mixture of finely ground iron oxide. The finished spheres were then mounted onto custom-designed stands of wood or metal for display. This example is a later replaced version of the rock crystal ball and made from crystal glass.
Meiji Period was an era of Japanese history that spanned from 1868 to 1912. It was the first half of the Empire of Japan, when the Japanese people began to build a paradigm of a modern, industrialised nation state and emergent great power, influenced by Western countries and aesthetics. As a result of radically different ideas, the changes to Japan were profound and it affected the social structure, politics, economy, military, and foreign relations across the board. The period corresponded to the reign of Emperor Meiji and was preceded by the Keio era and was succeeded by the Taisho era.
Cultural Art during the Meiji Period was of particular interest to the government and they overhauled the art export market which in turn promoted Japanese arts via various world’s fairs, beginning in Vienna at the world fair in 1873. The government heavily funded the fairs and took an active role organising how Japan’s culture was presented to the world including creating a semi-public company named Kiritsu Kosho Kaisha (First Industrial Manufacturing Company). The Kiritsu Kosho Kaisha was used to promote and commercialise exports of Japanese art and established the Hakurankai Jimukyoku (Exhibition Bureau) to maintain quality standards. For the 1876 Centennial International Exhibition in Philadelphia, the Japanese government created a Centennial Office and sent a special envoy to secure space for the 30,000 items that would be displayed. The Imperial Household also took an active interest in arts and crafts, commissioning works by select artists to be given as gifts for foreign dignitaries further emphasising the high quality and importance of Japanese art. Just before the end of the 19th century in 1890, the Teishitsu Gigeiin (Artist to the Imperial Household) system was created to recognise distinguished artists. These artists were selected for their exceptionally high quality wares and talent in their own industry. Over a period of 54 years Seventy artists were appointed, amongst these were ceramicist Makuzu Kozan and cloisonné enamel artist Namikawa Yasuyuki.
Measurements 13cm High (6cm High not Inc Ball) x 18.5cm Long 12.5cm Wide (5.1 / 2.36 x 7.3 x 4.9 Inches)
Condition Excellent, No damage or restoration
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