Description
Japanese Jungin Pure Silver 純銀
From our Japanese collection, we are delighted to introduce to the market this Japanese Silver Chrysanthemum Okimono by Musashiya. The Silver Okimono modelled as a blooming Chrysanthemum flower raised on a leafy vine with a second Chrysanthemum bud below. The Silver of incredible construction finely chased displaying the naturalistic look of a Chrysanthemum with a twin wall lining to the large bud head, intricate leaves and individually applied silver florets on the Chrysanthemum bud. The large open bowl is signed to the base Musashiya above the Japanese Jungin (純銀) pure silver mark. The Japanese Silver Chrysanthemum Okimono Musashiya dates to the Meiji Period (1868-1912) and the turn of the 20th century circa 1900.
Musashiya businessman Ozeki Yahei set up an export operation shortly after Yokohama opened as a designated Japanese treaty port in 1859. By 1880 Ozeki was one of the best known exporters, he enlisted his son Ozeki Sadajiro to manage the Yokohama branch and opened a retail store called Musashiya, for which he commissioned some of Japan’s foremost artisan silversmiths to design items in the Western Japanism taste.
Jungin 純銀 meaning “pure silver” was used predominantly during the Meiji Period to identify the objects made from pure silver.
Chrysanthemum is the national flower of Japan it represents the sun and the light (immortality) in Japan. It is also used as the Imperial Seal of Japan or National Seal of Japan called the Chrysanthemum Seal (菊紋 kikumon). It is the mon used by the Emperor of Japan and members of the Imperial Family. During the Meiji period (1868–1912), no one was permitted to use the Imperial Seal except the Emperor of Japan, who used a 16-petalled chrysanthemum with sixteen tips of another row of petals showing behind the first row.
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.
Condition Excellent condition
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