Notes on shippo : a sequel to Japanese enamels

Preface

HE information given in the following pages was originally intended to form the material for a Paper to be read before The fapan Society , but it will be seen that the length to which it has extended rendered it unsuitable for that purpose , and I have , therefore , thought it best to bring the subject before the Members of the Society in its present form.

In doing so I venture to invite their attention to a branch of art which cannot be without some interest to them , and , I think , is worthy of more attention than it has hitherto received.

f have already , in the text , expressed my acknowledgements to some of those who have furnished me with material for this essay , but I must tender my special thanks to two friends , Mr. Kawakami and

VI

NOTES ON SHIPPO.

Mr. Kowaki : to the former , for his ever-willing and patient aid in searching for information in fapan , and to the latter , a member of our Society , for the invaluable assistance he has rendered me by his translation of numerous documents and native books , and for his kindness in drawing the fapanese characters which appear in the text .

J. L. B.

Liverpool.

SYNOPSIS.

PAGE

Introduction

Abstract of Japanese Enamels: published 1884:

information available at that time . . 1

Japanese description of the ware ... 2

the origin, time, and place of manufacture

then unknown ...... 2

paucity of information in native records . 2

statement that the art was introduced from

China towards the close of XVI century . 2

definition of cloisonne and champleve enamels 2

remarks about Chinese enamels ... 2

division of Japanese cloisonne enamels into

three classes ...... 3

The Early Ware:

its characteristics in colouring and workmanship ....... 4

comparison with Chinese wares ... 4

an interesting link with Chinese wares . 5

a decorative form common to Chinese and

Japanese ...... 5

introduction of the art from China and not

, The Middle-period Ware:

resemblance to the Early ware ... 6

difference of both to Chinese works . . 6

absence of information about ... 7

suggestions as to the time when made . 7

Vlll

NOTES ON SHIPPO.

The Middle-period Ware — continued: page

varieties of the ware ..... 7

almost complete absence of signatures . 7

dates of arrival in Europe ... 8

character of the decoration ... 8

presence of the Imperial badges . . 8

theory regarding their original home . 8

The Modern or Export Wares:

the earliest imitations of the older ware . 9

upon porcelain grounds .... g

their characteristics ..... 9

forgeries of Chinese dates .... g

examples shown at Paris in 1878 . . 9

the works of the S hippo Kuwai-sha . . 10

upon copper grounds ..... 10

their characteristics ..... 10

their inferiority . . . . . . 10

where made . . . . . . 10

the objects, colouring, and workmanship . 10

names of the makers . . . . . 1 1

European imitations . . . . . 11

SHIPPO.

its connection with the art of shippo . . 12

its manufacture in Japan . . . . 12

examples: IV to X centuries, or earlier . 12

official glass works . . . . . 12

decadence of the industry . . . . 12

its revival . . . . . . . 12

The Mirror of Shomu :

the oldest example in Japan . . . 13

the mirror preserved at Nara . . . 13

SYNOPSIS.

IX

The Mirror of Shomu — continued: its date, VIII century, or earlier illustration of it description of it its authenticity Dr. Dresser’s account of it

The Origoto of Chomei : its date, XII century illustration of it description of it its authenticity

its history ....

Other Examples :

vases of shippo ruri , given by Yoshimasa, XV century .......

meaning of ruri ......

sword and armour, XVI century . a screen at Katsura palace, XVII century . another screen at Nagoya castle, XVII century

The Art in China:

according to Shuyen supposed introduction from Seiyo . its description . . . .

its resemblance to foreign inlaying

The XVI Century:

visit of Mendez Pinto to Japan . i visit of Xavier and others . . . .

embassy of Christian converts to Rome return with specimens of European art Venetian glass beads probably amongst them revival of glass making in Japan by Namban

PAGE

20 20 24, 25 25 25

24 24, 25

X

NOTES ON SHIPPO.

The XVII Century: page

introduction of Chinese methods of glass character of the works made 1624-1643 . 27

shippo beads then made .... 27

the Hirata family founded by Donin . . 27

doubt as to his having learned the art from character of their works .... 29, 30

the shippo bowl of the Emperor of Zui . 28, 29

The XVIII Century:

Many makers of shippo in Japan in 1781,

or earlier ....... 29

beads (ojime) of shippo . . . . . 31

their character ...... 31

Sword Guards :

some of them signed . . . . 32

significance of the signatures .... 32

character of the guards ..... 32

The XIX Century:

the period of Tempo, 1830-1843 33

decadence of art feeling at this time . . 33

a revival of shippo working . . . . 33

Kaji Tsunekichi settles in Owari ... 33

his history ....... 33

said to have copied Oranda enamel . . 34, 35

“Father of enamel making” ... 35

the glazing of raku yaki .... 36

pedigree of his pupils and successors . . 37

the Shippo Kuwai-sha ..... 36

other modern makers and their works . . 38

Signatures :

general absence of ...... 38

SYNOPSIS. xi

Signatures — continued : ■■ page

three examples of signatures .... 39-41 an Owari maker’s interpretation of them . 39

remarks thereupon ...... 39-41

Opinions about Shippo in Japan :

general non-acquaintance, except with modern 41 scantiness of information in works of reference 41-43

Views of the Earlier Visitors to Japan :

Sir Rutherford Alcock quoted ... 43

Mr. J. Jackson Jarves quoted ... 43

Dr. W. E. Griffis quoted .... 44

Mr. R. Brudenell Carter quoted ... 44

Views of more Recent Writers:

residents in Japan referred to ... 45

reports of Japanese Commissioners to various

exhibitions ...... 45

singular statement in The Real Japan . . 46

Dr. Waagener quoted ..... 46

Mr. B. Hall Chamberlain quoted . . 47

Dr. Rein quoted ...... 48

The Pretensions of Modern Makers:

claims by Owari and other modern makers modern wares described . . . . 51

The Latest Developments of the Industry:

the works of Namikawa Sosuke . . . 52

Professor Anderson quoted 53

Conflicting Opinions :

the question of “ pairs ” and other matters

as viewed by critics in Japan . . 53-56

56-6!

NOTES ON SHIPPO.

Appendix

Glass Making .....

•

PAGE

• 65-71

Forms and Uses of Enamel Works .

• 72-75

Signatures and other Marks

•

. 76-78 introduction .....

. 79-81

the character of their works .

signed works .....

• 85-94

unsigned works ....

the genealogy of the family

95-103

pupils of the family

104-108

the Hirata family of Awa

Notes :

the division of Japanese art into periods a traditionary shippo temple .

Narnban ......

shippo dei, or opaque enamel .

shippo and its various names .

ojime, inro, &c.

Oranda ......

the kakihan .....

INTRODUCTION.

Of all the art works of Japan with which Western countries have become familiar during the last thirty years, none has attracted the critical attention of collectors so little as that of cloisonne enamelling upon copper bases ; the classification of pottery, the beauty of lacquer and metal wares, and of the pictorial and other arts, have each found collectors who have devoted themselves to the study of these subjects, and have embodied the information they have gathered, and the conclusions they have arrived at, in works to which all may refer for guidance.

But beyond the Essay* upon the art of cloisonne enamelling which I issued in 1884, nothing has been done to draw attention to the beauty of the works, or to elucidate the mystery which still enshrouds their origin, and the object of these Notes is to record the information which has come into my possession since the date named, and to correct the misconceptions which have from time to time gathered around the subject. The authentic data at present available respecting this important branch of Japanese art work are, I feel, so imperfect, that it is desirable to stimulate enquiry and research, and, in offering these disjointed and incomplete remarks, I invite from all quarters information which may modify or corroborate the views set forth.

It may facilitate the right understanding of the matter if I, briefly repeat the leading points embraced in the Essay referred to, and recapitulate the theories which I ventured, with great reserve, to enunciate. I commenced by saying:—

' Japanese Enamels (20 plates), by James L. Bowes. Printed privately in 1884. B. Quaritch, London, 1886.

B

NOTES ON SHIPPO.

“ The Japanese themselves designate these works as Shippo ware, meaning that they represent the Seven precious things, namely, gold, silver, emerald, coral, agate, crystal, and pearl ; and those who have had an opportunity of studying the choicest works of the Japanese artists will acknowledge that this description does not appear over-strained or inappropriate.

“ The origin, the time and place of manufacture, the processes employed in the fabrication of these marvels of dexterous workmanship, and the uses to which the vessels were put, appear to be now unknown in Japan, and the records of the country, so far as they have become available to us, are silent upon all these points but one, although they afford ample information regarding lacquer, pottery, and other art works. All that is said about enamel working is — that the art was introduced from China towards the close of the sixteenth century.”*

Attention was drawn to the two principal kinds of enamel, the cloisonne and the champleve : —

“ In cloisonne , or walled, enamels the designs are formed upon metal by fine ribbons of the same material, soldered by one edge to the basis, and so projecting as to form a multitude of cells in which the enamel pastes of various colours are placed, and, after being vitrified by repeated firings, are finally ground and polished to a smooth surface. In champleve , or sunken, enamels the metal base required to form the design is hollowed out, leaving the divisions in relief, and the pastes are filled in as already described in the kindred process of cloisonne enamel.”

I then remarked that the art had undoubtedly been practised in China in early times, and drew attention to the characteristic features of the works of the different periods. The earliest ware, it was stated, with which we are acquainted, was produced during the Ming dynasty, 1368-1643 a.d., and

RESUME OF “JAPANESE ENAMELS.”

was distinguished by its somewhat rude workmanship, heavy cast metal grounds, and the low toned colours, the most prominent being deep reds and blues ; the ware subsequently made, during the Thsing dynasty, which commenced in 1643, showed more careful manipulation, and the brighter colours and more refined designs exhibited in the porcelain of the Khien-long and the Kea-king periods, 1736-1821 ; the third class, that which has been made for Europe since the sacking of the Summer Palace at Pekin in i860, is of coarser execution, and the colours employed are generally crude and garish in tone. Suggestions were then advanced as to the resemblance between these works and those which I supposed or knew to have been produced in Japan, and I went on to state that : —

“The latter may be divided into three clearly marked classes, which may be described as the Early, the Middle-period, and the Modern [which term I applied to the wares made for export] .* So far as these broadly-marked divi-

*A Japanese antiquarian chides me for my classification of enamels into the periods of Early, Middle and Modern. He writes: “It is well to divide the periods of Japanese enamels into three classes, namely, Ancient, Middle and Modern. But Japanese chronological divisions differ much from those of Mr. Bowes, and they may be stated thus:

“Ancient Period: From Emperor Jimmu, 660 b.c., to Emperor

Kwonin, 770-781 a.d.. i.e., the end of the Nara Court.

“ Middle Period : From Emperor Kwammu, 782-805 a.d., who removed the Court to Heian (Kioto), to Emperor Antoku, 1 181-1183 a.d., immediately preceding the institution of the office of Shogun.

“Modern Period: From Emperor Gotoba, 1184-1198 a.d., to the

downfall of Tokugawa Shogunate, 1868 a.d., and including the Meiji period which then commenced and still continues.”

My friendly critic goes on to say : “ Seeing that Mr. Bowes, in his work, commences with the Ashikaga period, 1335-1573 a.d., and does not trace further back than then, it appears to me that what he terms Early and Middle-period are nothing more than modern articles.

“Japanese enamels developed during the ancient period, declined during the middle period, and revived during the modern period. Thus the mirror of Emperor Shorn u belongs to the ancient period, and the origoto of Chomei to the middle period.”

In answer to this reproof, I may point out that I did not use the word “ancient,” but confined myself to the term “early,” without regard

NOTES ON SHIPPO.

sions go, the distinction between each is perfectly clear, but the information at present available does not permit of a more minute classification being made, nor of a sub-division of the diversified and beautiful Middle-period ware into the various schools of which it doubtless consists. There is an entire absence of information as to the time when they were made, and the varied excellence of the workmanship clearly indicates that a wide interval must have elapsed between the time when the Early ware was made and the production of the most perfect works of the Middle-period.

“The Early ware is executed upon the beaten copper* grounds of extreme thinness which form one of the features of Japanese enamels; and, in this respect, they are in marked contrast to all Chinese works. Both schools are represented in the colouring, the deep reds and blues of the Ming period being used in the ornamental designs, in many examples dis-

to definite epoch, for when I framed the classifications referred to I had no data on which to form an idea of the time when the objects were made. The classifications I ventured to make were merely relative, and were framed for the purpose of separating into three divisions the objects which I had before me ; and I explained that the term modern was applied to goods that were made for export, as distinguished from those of pure native taste.

But in view of my friend’s remarks, I may point out that his divisions are somewhat fanciful as applied to enamels, for, without personally calling into question the statement of the accession of Jimmu in 660 b.c., I may remark that the best authorities f agree that “the popular chronology is clearly fictitious down to the end of the fourth century a.d., and the earliest documents are not older than the beginning of the eighth. But the Japanese mind draws no distinction between mythology and history.” And, further, it appears to me to be the very extravagance of antiquarianism to assign within the category of Modern all the productions of Japanese art during the past seven centuries, which comprise the Kamakura period, 1185-1337; the Ashikaga era, 1338-1573; the age of Taiko ; and the splendid developments during the Tokugawa Shogunate, 1603-1868. No ; let us agree to apply the term Modern to the goods which have been made for export since the rebellion in 1868.

f A Handbook for Travellers in Japan, by E. M. Satow, C.M.G., and Lieutenant A. G S. Hawes. London, John Murray, 1884.

* Some pieces, I have since discovered, are executed upon brass grounds.

RESUME OF “JAPANESE ENAMELS.”

played upon the green grounds, which, in the deeper shades, form one of the distinguishing features of the Japanese school proper. Some of the designs are of Indian and Persian character, and it has been suggested that these works may have been made in those countries, but the connection between them and the developments of the art in China and Japan strongly confirm the view that they are the earliest efforts of the Japanese enamel workers.”

In confirmation of this view, I referred to an interesting Chinese dish, upon which there is a date mark which may safely be accepted as authentic for it is rendered in cloisons, and states that it was made during the Wan-li period, I573_I^I9 A-D-> °f the Ming dynasty. The colouring of this dish links it with the works which I designate as Early Japanese, and the ground is powdered with small curled forms, representing clouds, rendered in metal cloisons which, slightly altered, enter largely into the decoration of the works referred to ; this figure also affords a link connecting the Early with the Middle-period ware, in which it is found in a refined and modified form ; the transition between the Chinese and the Japanese renderings is shown in the following tracings :

O O

JTTJ7137

CHINESE.

Ming.

pJT^TTpJWT^tt

. G'QGiQi QQG

QlL L/A CS r_

JAPANESE.

Early.

-30000001 30 0 000 0 1

?000000£

JAPANESE.

Middle-Period.

Coloured and monochrome plates are also given in Japanese Enamels illustrating Chinese and Japanese examples of various periods.

Attention was then drawn to the statement, already referred to, that the art was introduced from China, which

NOTES ON SHIPPO.

I remarked was not without significance, for it is one of the few arts which were not introduced into Japan through Corea, and I quoted Mr. Alabaster,* who stated that the taste for this art was confined to the north of China, either from a prejudice on the part of the southerners against an art introduced into their country by their Tartar conquerors, or from its failure to harmonise with the sense of the beautiful of the more effeminate natives of the provinces of the south. However this may be, it is desirable to keep the point in view, owing to the statement in Japanese works that Hirata Donin learned the art from a Corean artist, early in the seventeenth century, to which reference will be made later on.

The difference between Chinese and Japanese enamels, and some of the characteristic features of the latter were referred to :

“ There are two points in which the Early and the Middle-period ware resemble each other and differ from all Chinese works. These are the excessive thinness of the metal foundations, and the frequent use of green as the colour for the grounds. There is no trace in either of the thick, beaten, or cast foundations used by Chinese artists of every period ; and in nearly all the examples of the Early ware, whilst the deep red of the Ming epoch is used, the blue grounds of the same period have given place to the green which have since become so marked a feature in the Japanese ware. In the Middle-period enamels, all trace of Chinese feeling is lost.”

I further remarked that the Early ware, although of very skilful manipulation, bears evidence of an undeveloped art which afterwards reached its culmination in the Middle-period works which I described as being executed upon copper foundations (in a few instances the foundations and cloisons are of white metal), often not exceeding one-sixteenth of an inch

* Catalogue of Chinese Objects in the South Kensington Museum , by C. Alabaster, 1872.

in substance, which in many cases are enamelled upon both sides, and referred to the delicacy of the brass cloisons by which the minute, diversified, and beautiful designs are formed. And I went on to quote the opinions expressed by others as to the designs, colouring, and accuracy of manipulation displayed in these works, to which attention will be drawn in subsequent sections of these Notes.

I have already said that at the time I wrote there was an entire absence of information as to the time when Japanese enamels were made, and I may now refer to the suggestions which, with all reserve, I offered. I ventured, in opposition to the views which then generally obtained, to suggest that the most splendid period of Japanese art was coincident with the rule of the Tokugawa family which assumed office in 1603, and, after referring to the development which occurred in the arts of lacquer, pottery, metal works, and so forth, during the seventeenth century, I remarked : —

“ It is not unlikely, therefore, that the last century was the most brilliant epoch of Japanese art, and it may be correct to assume that the choicest examples of cloisonne enamelling belong to that period.”

After referring to certain examples, of which I shall speak later, I concluded by saying that : —

“ Further than this it is, at present, impossible to go in fixing the time when these works were produced. The examples gathered together in this collection present marked differences of workmanship, design, and merit, and it is a matter of great regret that the almost complete absence of makers’ marks or signatures upon them renders it impossible for us to classify them in the manner which the abundant information of this kind, stamped or written, upon pottery has enabled us to accomplish for that branch of the art works of Japan.”

After reference to the composition and quality of the various enamel pastes, the character of the ornamental designs, and the forms of the vessels, I drew attention to the specimens ift my collection which presented exceptional

NOTES ON SHIPPO.

features or illustrated special points, some as being remarkable for the delicacy of the cloisons and perfect vitrification of the enamel pastes, others for brilliancy and diversity of colouring and accuracy of manipulation, others again in which the intense hardness of the enamel made it susceptible of an unusually brilliant polish ; and attention was drawn to certain examples which were characterised by coarse workmanship and crudeness of design and colouring, and these exceptions will be again referred to when we consider the information since obtained.

The time of the arrival of these works in Europe was then recorded. Amongst the earliest examples received, in 1865, were three basins and plates and a dish;* a few more pieces were included in the collection displayed at the Paris Exhibition of 1867, which afforded us the first complete revelation of Japanese art. Further examples reached Europe in 1868, the year of the rebellion, and the remainder appeared at intervals from that time till 1872, when the supply ceased. It is important in view of subsequent arrivals to keep these dates in mind.

Attention was also drawn to the character of the ornamental forms employed in the decoration of the Middle-period ware, and especially to the presence of the Imperial badges which appear upon some of the finest examples, notably upon several pieces f in a group comprising flower vases, dishes and bowls, and the subject of the Imperial badges, and the various methods of drawing them, were referred to at length. J In connection with this, a theory was advanced as to these and other objects having formed part of the furniture of certain Buddhist temples, presided over by the Imperial Relatives, which were destroyed by fire or disestablished during the disturbed times from 1868 to 1871. It is not necessary in this place to follow up this conjecture, as

"'Specimen No. 22 in the Catalogue of examples appended to Japanese

Enamels.

f Nos. 36-41, 96 and 97, 129 and 130, in the Catalogue.

\ Examples are given in the Appendix.

RESUME OF “JAPANESE ENAMELS.”

the arguments in favour of it are fully set forth in Japanese Enamels*

Having thus referred to the older works, we may add the remarks which were made about the Modern wares, and these are of some interest in view of the pretensions since advanced by the makers of such goods, of which mention will be made in subsequent pages.

“ Probably the earliest attempts to imitate the old works were made shortly before 1869, and the first essays appear to have taken the form of applying the process to porcelain, instead of the customary metal, grounds. Four examples of these works were brought to this country by H.R.H. the Duke of Edinburgh in the year named, and in 1870 a specimen of this ware came under our notice and was included in this collection. The earlier enamels upon porcelain were made clearly in imitation of the ancient works upon copper, the dark green grounds having been closely copied ; but the pastes used were very soft, the nature of the foundation requiring that they should be vitrified at a low temperature, and the surfaces show none of the brilliant polish which is found upon the genuine ware. Some of these modern works are marked with the Chinese year-periods of the Ming dynasty.

“ This branch of manufacture has largely developed during the past ten years, and immense quantities of porcelain partially, or entirely, covered with cloisonne decoration have been sent to Europe and America. At the Paris

*A Japanese friend, having read these remarks, supposes that they might have been suggested by the following circumstance which he relates ; I was not, however, acquainted with the tradition referred to when I wrote, and my arguments in favour of the theory propounded were based upon different premises. He mentions that when an embassy was sent to Europe, about the end of the sixteenth century, some of the envoys are said to have acquired a knowledge of sliippo working, or to have brought back with them specimens of the ware, which were preserved in a temple called, for this reason, Shippo dera. But, he adds, the entire story is a mere tradition, and even the existence of the temple itself is quite problematical.

C

IO

NOTES ON SHIPPO.

Exhibition of 1878, the S hippo Kuwai-sha , or the Enamel Company, of Owari, exhibited a great number of vases, flower pots, and so forth ; but in these works the green grounds had been discarded, and others of light torquoise, and similar brilliant colours, substituted.

“ The earliest specimens of the modern work upon copper foundations reached this country in 1872. They also were in imitation of the old works, as regards the thin copper grounds upon which they were executed, and the employment of the dark green grounds, powdered with the Kara kusa, but it was plain that the workmen of the present day had lost the traditions of the art, for their productions entirely lacked the perfection of finish and delicacy of colouring which characterise the early works. Nearly all the examples are coarse in execution, blotchy in colouring, and, although some show traces of the ancient designs, none of them presents any evidence of the exquisite and delicate effects produced by the fertile imagination and artistic treatment of the mediaeval craftsmen.”

The inferiority of these imitations to the works previously received was so manifest as not to deceive even the unwary, and, as they did not meet with buyers, the manufacture was discontinued, and I stated that : — “ In more recent years the production of even these base imitations has ceased, owing probably to the great cost of working upon the thin beaten grounds, and the recognised impossibility of producing satisfactory results, and, in their place, works similar in character to those now made upon porcelain have been produced. At Yokohama, at Nagoya in the province of Owari, and, I believe, at Kioto also, the industry is now carried on upon a large scale by native workmen, but mainly under the supervision of French directors, who, studying what they suppose to be the requirements of the European market, have produced works deficient alike in beauty of form, colouring and workmanship. Cabinets, jewel cases, flower vases and dishes, some of the latter of large size, as much as 40 inches in diameter, have recently been made in great numbers. 1 he metal

RESUME OF “JAPANESE ENAMELS.”

I I

grounds of these works are much thicker than those used in the older specimens, and they are frequently cast instead of being beaten, and the cloisons are thick and heavy. Large spaces are covered simply with the enamel pastes, the workmen of the present day being deficient in the patient skill of the artists of a bygone age, who loved to cover the entire surface with designs of faultless beauty wrought in a delicate network of cloisons. The colours generally employed in these works are brilliant torquoise, yellow, black, and brown; diaper patterns, often of great exactitude, are used in the borders, but the principal mode of decoration is by means of medallions, fan-shaped or circular, which are filled with flowers and birds rendered in their natural colours, and, in some instances, the figures of warriors are introduced. One of the principal makers, or exporters, of this coarse and meretricious ware is named Seizaburo Goto, who carries on his trade at Yokohama.

“ Closely following upon the first appearance of Japanese enamels in Europe, French and English artists endeavoured to imitate them. Perhaps the first to attempt this was M. A. Falize aine, of Paris, who presented three small tablets, illustrating the process, to the South Kensington Museum in 1869. Subsequently MM. Christofle & Cie, and M. Barbedienne, also of Paris, and Messrs. Elkington & Co., of Birmingham, endeavoured to master the art, but as their efforts were not successful, the attempt has been abandoned, and now the champleve process only is followed.”