Description
This Japanese Meiji period cloisonné enamel charger, attributed to Honda Yosaburo and dating to circa 1895, is of impressive exhibition scale measuring 60.5 cm (23.82 inches) in diameter. The charger displays an exceptionally complex decorative scheme centred upon a kachō-ga composition set against a deep black aventurine enamel ground, framed by concentric borders of geometric ornament, butterflies, flowers, and mythical creatures.
The central medallion depicts a hawk perched amongst the branches of a flowering prunus tree accompanied by chrysanthemums and other seasonal plants. The rich black ground is densely infused with chakinseki (goldstone aventurine glass), creating a shimmering effect that contrasts beautifully with the finely shaded enamels of the birds and flowers. The composition is carefully balanced, with the hawk overlooking a smaller bird in flight amidst the lower flowering branches.
Surrounding the central panel are successive bands of intricate decoration including geometric brocade patterns, stylised butterflies, floral motifs, and scattered chrysanthemum blossoms. The charger is enclosed by a broad scalloped rim formed as sixteen lobed panels alternating between paired hō-ō (phoenix) and dragon reserves upon chakinseki grounds. Between each lappet are floral roundels and dense scrolling karakusa wirework, demonstrating the remarkable precision achieved by the Kyoto cloisonné workshops during the late nineteenth century.
Although unsigned, the charger can be confidently attributed to the workshop of Honda Yosaburo. The extensive use of chakinseki (goldstone aventurine) grounds, the sophisticated layered border decoration, the exhibition-scale format, and the distinctive Kyoto School palette closely reflect works associated with Honda Yosaburo during the Meiji period. His workshop became recognised for richly ornamented cloisonné incorporating mythical creatures, brocade-inspired borders, and complex decorative programmes of this quality.
The reverse is finished in vibrant blue enamel decorated with continuous scrolling karakusa, retaining its original hanging mount. The charger remains in excellent condition and presents as an outstanding example of large-scale Kyoto cloisonné enamel from the Meiji period.
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Measurements
60.5cm Diameter x 9.5 High (23.82 x 3.74)
Condition
Excellent antique condition
Who was Honda Yosaburo?
Honda Yosaburo (active circa 1870s-1910s) was a Kyoto-based cloisonné maker of the Meiji period, best known for his mastery of chakinseki (aventurine goldstone) enamel. Operating his shop during the height of Japan’s decorative arts export trade, his studio specialised in elaborate brocade-style compositions featuring dense silver-wire karakusa scrolls, geometric borders, and mythic beasts such as dragons and Hō-ō (phoenixes). He gained international acclaim at major world expositions, winning silver in Nuremberg (1885) and gold medals in Paris (1889) and Chicago (1893).
What is Chakinseki?
Chakinseki (literally translating to “tea-gold stone”) is a specialist Japanese cloisonné enamel technique that incorporates metallic copper flakes into translucent glass grounds. First perfected during the Meiji period by master enamel artists such as Honda Yosaburo, this meticulous process creates a rich, shimmering aventurine effect that glitters beneath light. Because mixing metallic particles into glass requires extreme temperature control during firing to prevent oxidation or clouding, authentic chakinseki is considered a hallmark of exceptional technical craftsmanship and is highly prized by Japanese decorative art collectors.
What is Kachō-ga?
Kachō-ga (translating directly to “pictures of birds and flowers”) is one of the most celebrated genres in traditional Japanese art, originating in classical painting before being adapted into fine Meiji-period cloisonné enamels. Rather than serving as purely decorative motifs, kachō-ga compositions pair specific birds with seasonal flora to convey deep symbolic meaning, such as pairing a vigilant hawk (taka) with plum blossoms (ume) and chrysanthemums (kiku) to signify strength, nobility, and endurance. In fine enamels, kachō-ga scenes require precise wirework (cloisons) to capture realistic natural motion and botanical accuracy, making these panels the focal point of high-grade exhibition pieces.
What is karakusa?
Karakusa (literally translating to “Chinese grass” or “exotic vine”) is a traditional Japanese decorative motif depicting a continuous, fluid pattern of winding tendrils, scrolling foliage, and stylized leaves. Rooted in classical textile and architectural design, it carries deep cultural symbolism, representing prosperity, eternity, and uninterrupted lineage due to the endless growth of the vine. In Meiji-period Kyoto cloisonné enamel (shippō), master craftspeople used exceptionally fine silver and copper wire (cloisons) to shape minute, repeating karakusa scrolls. This delicate wirework was predominantly applied to border reserves and negative space, adding textural depth, framing central pictorial panels, and serving as a hallmark of high-grade decorative enamel.
What is a HO-O IN JAPANESE MYTHOLOGY?
The Japanese Ho-o, or Phoenix, is a legendary bird symbolising peace, prosperity, and divine balance. Adopted as a symbol of the Imperial household, particularly the Empress, the Ho-o represents fire, the sun, justice, fidelity, and harmony. Often depicted with radiant plumage combining elements of sacred animals, this mythical creature appears only in times of great peace, making it a powerful emblem in Japanese art and culture. From textiles and lacquerware to decorative arts, the Phoenix continues to embody auspicious power and timeless beauty.
For further information see our article The Mythical Japanese Phoenix: Ho-o (Hōō) in Art and Mythology.
WHAT IS THE SIGNIFICANCE OF THE CHRYSANTHEMUM (KIKU)?
The chrysanthemum, known as kiku (菊) in Japan, is one of the country’s most important symbols. Introduced from China in the 5th century, it quickly became associated with longevity, renewal, and autumn. By the 12th century, Emperor Go-Toba adopted the chrysanthemum as the crest of the Imperial family, where it remains today as the Imperial Seal of Japan, also called the Chrysanthemum Throne. The flower appears widely in art, poetry, festivals, and design, celebrated for both its seasonal beauty and its links to the virtues of loyalty, resilience, and honour.
For further information see our article Chrysanthemums in Japanese Culture: The Imperial Flower of Autumn.
WHAT IS CLOISONNE?
Cloisonné is a traditional decorative art that involves applying thin metal wires to form compartments (cloisons) on a metal surface, which are then filled with colourful enamel. After multiple firings and polishings, the result is a vibrant, glass-like finish with intricate designs. The technique has roots in ancient China but was perfected in Japan during the Meiji period (1868–1912), often referred to as the Golden Age of Cloisonné. Japanese artists developed advanced methods such as musen shippō(wireless cloisonné) and shōtai shippō (plique-à-jour), creating seamless, naturalistic, and even translucent effects. Highly prized for its precision, artistry, and beauty, Japanese cloisonné is regarded as one of the finest forms of enamel craftsmanship in the world and remains highly collectible today.
For further information see our article The Art of Japanese Cloisonné: History, Craftsmanship, and the Golden Age.
WHAT IS THE JAPANESE MEIJI PERIOD (1868-1912)?
The Meiji era marked Japan’s transformation into a modern nation and a golden age of decorative arts. With the end of samurai rule and Japan’s opening to the West, artisans produced works of exceptional quality for both domestic and international audiences. Supported by the government through world fairs and Imperial commissions, Japanese lacquerware, cloisonné, satsuma ceramics, bronzes, and ivory carvings reached collectors worldwide. Many leading artists of the time, including Makuzu Kozan and Namikawa Yasuyuki, were honoured as Imperial Household Artists, ensuring the Meiji period remains one of the most celebrated eras of Japanese art.
For further information please see our article Japanese Meiji Period: Art, Collecting, and Cultural Transformation.
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