Studio: international art (53.1911)

Japanese Art and Artists of To-day.—VI. Cloisonne' Enamels

drawings on copper base for cloisonne enamel by ota toshiro (toshima)

Japanese enamellers have developed their art may culties, which leads to the adoption of a more

be mentioned. First, the chance observation at difficult method even at the expense of its effect

a railway station by Kumeno, already alluded to. upon the art itself. As the manifestation of this

Then the case of the craftsman who stumbled on idiosyncrasy in Japanese music has been somewhat

the secret of chakin (tea gold) while experiment- disastrous, it is to be feared that shippo may suffer

ing with copper, some shavings of which fell into in like manner. Are not musen and nagare-gusuri,

the molten enamel and gave an exquisite golden whose characteristics consist in the heroic achieve-

lustre. Another instance was the discovery, by a ment of effects properly inconsistent with cloisonne

mere smell of burning wood, of a grey enamel by art, clear manifestations of this idiosyncrasy ? The

Hayashi while he was working under Dr. Wagnel in artist is in danger of becoming merged in the clever

Tokyo, to whom the enamellers of Japan as well craftsman, and the art itself of being lost in the

as porcelain manufacturers owe so much of their pursuit after enormously diffi-

success. Such stories might be multiplied, but cult technique. However, it

these should be sufficient to indicate the somewhat is perhaps merely a matter of

haphazard way in which the shippo artists arrived taste.

at their most treasured secrets, though they worked But it is people's taste that

with great constancy of purpose. often determines a vital point

At the same time another national trait may be in art. The difference in the

discerned, namely, the love of overcoming diffi- points of view from which mark

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gonda hirosuke's