DOI issue:
Nr. 176 (October, 1911)
DOI article:Harada, Jirō: Japanese art and artists of to-day. VI. Cloisonné Enamel-work
DOI Page / Citation link:https://doi.org/10.11588/diglit.43447#0371
Japanese Art and Artists of To-day.—
of orchid is used to make these pieces of ribbon
adhere to the base. Then powdered enamel or
fine solder-filings are sifted over the work; which
is then subjected to a gentle heat, thus securing
the cloisons. Enamel pastes of various colours
CLOISONNE BOWL
BY KAWADE SHIBATARO (NAGOYA)
are then, with the aid of a bamboo pen, jammed
into the cloisons formed by the wires, thus carry-
ing out the design. Different firings are necessary,
as some enamels do not fuse as easily as others,
and since different layers of enamels are required
to attain the desired effect. Finally the surface is
polished with stones of different grades of coarse-
ness, then with powdered charcoal, finally with
hartshorn mixed with rape-seed oil. However, in
the preparation of musen-jippo, the process of
firing in order to fix the cloisons is omitted. When
the cloisons are filled with
the paste the enamel is left
to dry in the shade, and then
the ribbons are pulled out
before the work is put into
the oven. Afterwards these
ribbons are relaid on vitrified
enamel and another layer of
paste is applied. Thus the
process is repeated until a
perfect pictorial effect is
attained.
Intricate as the process is,
the modern cloisonne manu¬
facture happens to be one of
the few industries in Japan
which have been de¬
veloped chiefly by European
276
I I. Cloisonne Enamels
patronage. It is only in
comparatively recent
years, most markedly
within the last few years,
that shippo began to find
a place in Japanese homes
as an ornament. As is so
often the case with arts
and crafts, there are two
more or less distinct types
of enamel-work, one de-
signed for foreign markets
and the otherfor the home
market—at least, such is one of the latest develop-
ments. However, in shippo, the distinction between
the two types is not so well marked as in other crafts,
as cloisonne has not yet won an honoured place on
CLOISONNE VASE. BY KAWADE
SHIBATARO (NAGOYA)
OTA TAMESIRO’S
MARK
THE MARK OF
INABA NANAHO
(KINUN-KEN)
-±-
OTA KICHISABURO’S
MARK
GONDA IIIROSUKE'S
MARK
of orchid is used to make these pieces of ribbon
adhere to the base. Then powdered enamel or
fine solder-filings are sifted over the work; which
is then subjected to a gentle heat, thus securing
the cloisons. Enamel pastes of various colours
CLOISONNE BOWL
BY KAWADE SHIBATARO (NAGOYA)
are then, with the aid of a bamboo pen, jammed
into the cloisons formed by the wires, thus carry-
ing out the design. Different firings are necessary,
as some enamels do not fuse as easily as others,
and since different layers of enamels are required
to attain the desired effect. Finally the surface is
polished with stones of different grades of coarse-
ness, then with powdered charcoal, finally with
hartshorn mixed with rape-seed oil. However, in
the preparation of musen-jippo, the process of
firing in order to fix the cloisons is omitted. When
the cloisons are filled with
the paste the enamel is left
to dry in the shade, and then
the ribbons are pulled out
before the work is put into
the oven. Afterwards these
ribbons are relaid on vitrified
enamel and another layer of
paste is applied. Thus the
process is repeated until a
perfect pictorial effect is
attained.
Intricate as the process is,
the modern cloisonne manu¬
facture happens to be one of
the few industries in Japan
which have been de¬
veloped chiefly by European
276
I I. Cloisonne Enamels
patronage. It is only in
comparatively recent
years, most markedly
within the last few years,
that shippo began to find
a place in Japanese homes
as an ornament. As is so
often the case with arts
and crafts, there are two
more or less distinct types
of enamel-work, one de-
signed for foreign markets
and the otherfor the home
market—at least, such is one of the latest develop-
ments. However, in shippo, the distinction between
the two types is not so well marked as in other crafts,
as cloisonne has not yet won an honoured place on
CLOISONNE VASE. BY KAWADE
SHIBATARO (NAGOYA)
OTA TAMESIRO’S
MARK
THE MARK OF
INABA NANAHO
(KINUN-KEN)
-±-
OTA KICHISABURO’S
MARK
GONDA IIIROSUKE'S
MARK