Description
Meiji period (1868-1912)
From our Japanese collection, we are delighted to offer our Japanese Cloisonne Enamel Bowl by Ogasawara Shuzo. The Ginbari Cloisonne Enamel Bowl of traditional form with rounded sides, central opening and a recessed rim. The ground a blue to silver transparent enamel over a tomei-jippo design of marine plants and fish achieved by hammering the details of the flowers from the outside followed by overlaying with silver foil and the application of transparent enamel. The finish of the bowl gives the simulation of fish swimming in water. The base of the Cloisonne Enamel Bowl is signed within an oval cartouche with the two character mark for Ogasawara Shuzo. The Japanese Cloisonne Enamel Bowl by Ogasawara Shuzo dates to the early 20th century and the later half of the Meiji period circa 1910.
REFERENCE
– Japanese cloisonne Irvine, Gregory. Japanese Cloisonné. (London V&A Publications, 2006), p. 47.
– Coben & Ferster plate 114– Barry Davies no.12 for a large vase by Hayashi Kodenji with similar decoration
– Kozyreff p.372 for a piece by Ogasawara Takajiro acquired at the Exposition Universelle de Liège in 1905.
– V & A London, Accession Number FE.6:1, 2-2011 & FE.4:1 to 4-2011
Tomei-Jippo (ginbari)
A technique of Japanese cloisonne achieved by hammering the details from the outside followed by overlaying with silver foil and the application of transparent enamel giving an almost 3d effect.
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 Diameter x 6.5cm High (5.12 x 2.56 Inches)
CONDITION
Very Good – one very small bruise which is commonly found on the very fragile ginbari type cloisonne
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