CONTENTS, INCLUDING SUB-CHAPTERS AND SUB-SUB-CHAPTERS
ACKNOWLEDGEMENTS
TABLE OF CONTENTS
FOREWORD BY JOE EARLE [DIRECTOR, JAPAN SOCIETY GALLERY, NEW YORK CITY]
PREFACE
INTRODUCTION
Terminology and understanding
Limits of knowledge
A note on the sense of touch
SUMMARY OF THE CLOISONNÉ AND CHAMPLEVÉ MANUFACTURING PROCESSES
PART I. HISTORY
CHAPTER 1 – EARLY ENAMELING HISTORY
Champlevé enameling in Japan in the seventeenth century
Further development of the enameling tradition in the eighteenth century, including cloisonné
The Hirata school of small insets (primarily into sword fittings) in the seventeenth century and after
CHAPTER 2 – THE POST-1830 JAPANESE CLOISONNÉ TRADITION
Kaji Tsunekichi and the 1830s re-invention of Japanese cloisonné enameling
Kaji Tsunekichi’s lineage, including the Tsukamoto and Hayashi Shōgorō and Kodenji
Doro shippō– the use of lower fired enamels, 1830s to 1870s
Socio-economic background
Gottfried Wagener and European influence in the 1870s
Nagoya-Shippō-chō
Tokyo-Yokohama
Kyoto
The effect of Wagener’s influence
Expansion of the wire-free areas
Other European Influences
CHAPTER 3 – TECHNICAL AND STYLISTIC REFINEMENT, 1880 TO 1915
Japanese success
Western efforts to compete
Government support of cloisonné enameling in the Meiji era
Expositions
The Kiryū Kōshō Kaisha
Imperial actions
Local government efforts
Development of a Japanese domestic market
Form and decorative design 1880–1915
Form
Decoration
CHAPTER 4 – EXPANDING HORIZONS, 1915 TO PRESENT
1915–1940
Post-1945 cloisonné enameling
PART II. TECHNIQUES OF JAPANESE CLOISONNÉ-ENAMELING.
CHAPTER 5 – STANDARD CLOISONNÉ – YŪSEN SHIPPŌ, STUDIO TO SALE ROOM
General
The studios
Andō
Namikawa Yasuyuki
Inaba-Kinunken
Takatani and other large operations
Preparing the underlying metal piece
Placing the design on the underlying metal and the role of designers
Wiring the design
Firing the wires to the substrate
Preparing the enamels
Inserting the enamels among the wires, and counter-enameling
Firing the piece
Refilling the cells and refiring
Grinding and polishing
Finishing
Wooden boxing the piece
Selling the piece
CHAPTER 6 – ENAMEL DEVELOPMENTS IN STANDARD CLOISONNÉ
Graduated color – Bokashi
Goldstone – Kinseki or Chakin-seki
Speckled or mottled enamels
Transparent enamels
Translucent enamels
Dripglaze – Nagare-gusuri or Ryū-yū Shippō, Kawade Shibatarō
Matte finish enamels
Protective enamels
CHAPTER 7 – WIRE DEVELOPMENTS IN STANDARD CLOISONNÉ
Wire materials
Open-ended design wires and crimping
Twisted wires
Various width wires
Multiple-metals wiring
Hidden supporting wires – Shinobisen
Sculpted wires – Uchihari
Angled-end wires
Shaped metal insets
CHAPTER 8 – TWO STYLES OF STANDARD CLOISONNÉ: WIRE AND ENAMEL EMPHASIZING
Wire emphasizing pieces – Kyōtojippō-style
Takahara Komajirō
Honda Yosaburō
Ōta Toshirō and Andō
Related Terminology
Wire emphasizing pieces – Yokohama Style
Murase Jinsaburō
Kawano Yoshitarō
Enamel emphasizing pictorial pieces
Geographic Dispersion and Cross-Fertilization within Japan
CHAPTER 9 – WIRELESS CLOISONNÉ – MUSEN SHIPPŌ
Namikawa Sōsuke
Early wireless steps
Mature wireless work
Wireless methods
Concealed wires – Shōsen
Subsurface wires – Shinobisen
Undertone – Shizumi-moyō
Painted or Canton enamels – Emaiyū and Shinsaiyū
Use of the term wireless.
Opaque and Translucent Monochromes
COLOR-ILLUSTRATION SECTION, 128 IMAGES [ADDITIONAL 91 BLACK-AND-WHITE IMAGES ARE SCATTERED THROUGHOUT THE TEXT]
CHAPTER 10 – TRANSPARENT ENAMELS
Development of transparent enamels
Specific colors: Black, Red-Akasuke, Scarlet, Yasuyuki’s mixed transparency
Predecessors
Silver as the substrate – Gintai Jippō
Engraving the substrate, basse-taille – Tōmei Jippō
Basse-taille techniques
Additional techniques to increase three-dimensionality on transparent pieces
Transparent Monochromes
Basse-taille masters
Kawaguchi Bunzaemon
Kumeno Teitarō
Ōta Jinnoei
Tomiki Shōbei
Others
Enamel over Foil – Ginbari
Contemporary foils
Partial foil underlays
Transparent enamels inset among standard cloisonné
CHAPTER 11 – SILVERWORK WITH SUBSIDIARY ENAMELING
Prominent makers
Variations
Presentation boxes – ko bonbonieru
Jewelry
Enameled medals
History of medal making
Private manufacture
CHAPTER 12 – LIGHT-PENETRATING PIECES
Plique-à-Jour – Shōtai Jippō
Plique early history
Japanese plique technique
Sources of inspiration for Japanese plique-à-jour
Partial Plique-à-Jour – Tōtai Jippō
CHAPTER 13 – PROTUBERANT ENAMELING
Heaped-up enamels – Moriage
Moriage history
Moriage technique
Unduly broad use of the term moriage
Repoussé – Uchidashi
Raised enamels over bare copper – Tsuikijippō
Imitation tsuikijippō – Saiyū
Other protuberant techniques
Appliqués – Sotai
Mineral inlays
Wired enamels over a cloisonné ground, Hayashi Hachizaemon
Wired enamels above an unenameled ground
Varying heights of wire
CHAPTER 14 – MISCELLANEOUS ENAMELS
Champlevé – Zōgan Shippō
Uncommon variations
Ming imitations – Hōgyoku Shippō, Kaji Satarō
Cavities
Imitation of other materials
Metal
Stone and mineral
Shell inlay
Glass
Ceramic
Other
CHAPTER 15 – CLOISONNÉ ON NON-METAL SUBSTRATES
Cloisonné on Ceramic – Tōtai and Jitai Jippō
Ceramic cloisonné history
Terminology
Cloisonné on ceramic technique
Form and decoration on ceramic cloisonné
Master ceramic makers
Sources of the underlying ceramics
Lacquered “tree bark” porcelain – Jitaisome Jippō
Cloisonné on Wood and Papier-Mâché – Urushi [or Nuri] Shippō
Standard cloisonné inset into a wooden base
Cloisonné on Glass – Garasutai Jippō
PART III. MARKS AND SIGNATURES
CHAPTER 16 -- MARKS, SIGNATURES, AND THEIR LIMITATIONS
CHAPTER 17 -- ILLUSTRATIONS OF 290 MARKS AND SIGNATURES FOUND ON JAPANESE CLOISONNE ENAMELS
Marks and signatures on metal substrate
Marks and signatures on ceramic substrate
Marks and signatures on metalwork with subsidiary enameling
Marks and signatures on glass substrate
APPENDIX A – GLOSSARY OF CLOISONNÉ ENAMEL-SHIPPŌ TERMS
APPENDIX B – MEDALS REPORTEDLY WON BY SELECTED JAPANESE CLOISONNĖ- ENAMELERS AT INTERNATIONAL EXHIBITIONS DURING THE MEIJI (1868–1912) AND TAISHO (1912–1926) ERAS
APPENDIX C – EXPOSITIONS MENTIONED IN THE TEXT AT WHICH ENAMELS WERE EXHIBITED
ENDNOTES
BIBLIOGRAPHY
INDEX
