DOI Heft:
Nr. 222 (September 1911)
DOI Artikel:Harada, Jirō: Japanese art and artists of to-day, [6]: Cloisonné enamel-work
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20973#0293
Japanese Art and Artists of To-day.—
VI. Cloisonne' Enamels
The ordinary enamel-work with wire is called
viisen-jippd; the variety in which the work is
slightly raised in relief by means of applying an
extra amount of enamel is called moriage ; another
variety in which the foundation is hammered out
wherever the relief effect is required is called
uchidashi. Still another variety with translucent
red enamel without any cloisons, but generally with
carving on the base, is known to manufacturers as
akasuke. Porcelain and other materials are some-
times used, but a copper base is employed for
practically all opaque enamels, also for akasuke, as
an equally brilliant red cannot yet be obtained
upon any other metal. Silver and gold are used
pair of cloisonne vases. by an do jubei (nagoya)
to the writer in connection with this branch of
Japanese art, particularly as to certain charac-
teristics of the Japanese people which are revealed
in its treatment and craftsmanship. At the same
time we shall not omit an introduction to a few of
the best-known cloisonne artists of the present
day, together with their work, however casual that
introduction may prove to be.
It will be well to describe briefly at the outset
the different kinds of shippo wares now produced.
They are generally classified under two heads
according to the quality of the paste: (i) doro-
•ippo {shippo becomes jippo when in combination
with another word preceding it) or opaque enamel,
and (2) suki-jippo, or translucent enamel. The
enamels are applied to the metal base or founda-
tion in one of two ways : (a) Those parts of the
design which are to be filled with the paste are
channelled either in casting or by indenting, or
(b) cloisons are formed by the aid of thin wire to
receive the paste. The former is more properly
called champleve, while the latter is designated
cloisonne. But the Japanese term shippo is ap-
plicable to both. It is also ap-
plicable to what is known as
cloisonless enamel-work (com-
monly called musen-jippo) and to B H as bases for the translucent enamels ; those with a
shotai-jippo, or bodiless enamel -4^^ silver base being known as gin-jippo, and those with
(known as " transparent or plique gold as kin-jippd. Translucent enamels are also
a jour cloisonne "), in which the i used, either in part or whole, for gin-bari, a variety
copper foundation is removed, ANDmarkEI * m which the copper base is covered over with
generally by chemical process, (Silver wire silver paper, giving it the appearance of a silver
leaving only the vitrified enamel, with red, foundation.
0 J white or screen .
as also to several other variations. enamel) A few terms used to designate different designs
272
*
cloisonne vase
by ando jubei (nagoya)
VI. Cloisonne' Enamels
The ordinary enamel-work with wire is called
viisen-jippd; the variety in which the work is
slightly raised in relief by means of applying an
extra amount of enamel is called moriage ; another
variety in which the foundation is hammered out
wherever the relief effect is required is called
uchidashi. Still another variety with translucent
red enamel without any cloisons, but generally with
carving on the base, is known to manufacturers as
akasuke. Porcelain and other materials are some-
times used, but a copper base is employed for
practically all opaque enamels, also for akasuke, as
an equally brilliant red cannot yet be obtained
upon any other metal. Silver and gold are used
pair of cloisonne vases. by an do jubei (nagoya)
to the writer in connection with this branch of
Japanese art, particularly as to certain charac-
teristics of the Japanese people which are revealed
in its treatment and craftsmanship. At the same
time we shall not omit an introduction to a few of
the best-known cloisonne artists of the present
day, together with their work, however casual that
introduction may prove to be.
It will be well to describe briefly at the outset
the different kinds of shippo wares now produced.
They are generally classified under two heads
according to the quality of the paste: (i) doro-
•ippo {shippo becomes jippo when in combination
with another word preceding it) or opaque enamel,
and (2) suki-jippo, or translucent enamel. The
enamels are applied to the metal base or founda-
tion in one of two ways : (a) Those parts of the
design which are to be filled with the paste are
channelled either in casting or by indenting, or
(b) cloisons are formed by the aid of thin wire to
receive the paste. The former is more properly
called champleve, while the latter is designated
cloisonne. But the Japanese term shippo is ap-
plicable to both. It is also ap-
plicable to what is known as
cloisonless enamel-work (com-
monly called musen-jippo) and to B H as bases for the translucent enamels ; those with a
shotai-jippo, or bodiless enamel -4^^ silver base being known as gin-jippo, and those with
(known as " transparent or plique gold as kin-jippd. Translucent enamels are also
a jour cloisonne "), in which the i used, either in part or whole, for gin-bari, a variety
copper foundation is removed, ANDmarkEI * m which the copper base is covered over with
generally by chemical process, (Silver wire silver paper, giving it the appearance of a silver
leaving only the vitrified enamel, with red, foundation.
0 J white or screen .
as also to several other variations. enamel) A few terms used to designate different designs
272
*
cloisonne vase
by ando jubei (nagoya)