Champlevé and Cloisonne enamel. Japan 16th-18th c.

CHAMPLEVÉ and CLOISONNE ENAMEL.

EXAMPLES of Japanese Enamel of the sixteenth and seventeenth centuries are extremely rare, and are accordingly highly prized by collectors of Japanese art. The group of objects shown in this Plate are, with two exceptions, of those early periods; and all are interesting and characteristic specimens of their respective schools.

• No 1. – Is a species of dagger (tan-to) with handle and sheath of dark brown wood mounted with light coloured bronze, probably once gilded, chased with floral designs in low relief, and enriched with enamels laid on in the champleve method. The pastes are for the most part semi-translucent, the dull red only being opaque. The colours used are red, green, white, and black. This piece is of the end of the sixteenth or the beginning of the seventeenth century. Length 15½ inches.
• No 2. — A large tsuba, or sword guard, of octagonal shape, enriched on both faces with cloisonné enamel. The designs are of a simple and primitive character, but displaying effective arrangements of colour. The pastes are semi-translucent with the exception of the red, which is, as usual, opaque. The execution is rather careless and the vitrification imperfect, indicating the absence of a complete mastery over the process. Date, about the end of the sixteenth century. Represented full size.
• No 3.— Handle of the kodzuka belonging to the tan-to, represented full size. The rabbit and grasses are of champlevé enamel, translucent, and laid on gilded grounds. This is a most interesting work, clearly showing that at the date of its manufacture — the beginning of the seventeenth century — the Japanese were acquainted with the art of translucent enamelling upon reflecting surfaces. This is an example of the Hirata school of translucent enamelling.
• No 4. — A kiri badge, freely treated, in cast bronze, enamelled in the champlevé method with mixed colours. The colours employed are bright green, light and deep red, and white. The green and white are of a semi-opaque character. This piece is stated to have been taken from the woodwork of a pillar of the palace of the Mikado, at Kioto. Date, seventeenth century. Represented full size.
• No 5 and 6. — The two faces of a small and very beautiful sword guard enriched with cloisonné enamel. The quality of the pastes used, the fineness and accuracy of the cloisons, the vitrification, and the final grinding and polishing leave nothing to be desired. This is one of the finest specimens of Japanese enamel we have met with, and bears the evidences of a master hand and an unerring skill in every detail of its fabrication. Date, early part of the eighteenth century. Represented full size.
• No 7. — Another small sword guard decorated with cloisonné of good quality, though not so perfect in treatment as the preceding. The colouring is most effective and refined. Date, late eighteenth century. Represented full size.

In the possession of Ernest Hart, Esq., M.R.C.S., of London.

Source: The ornamental arts of Japan by George Ashdown Audsley. Lithographer: W. Greve, Berlin. Published: Lemercier & cie., Paris 1882.