FREDRIC T. SCHNEIDER  JAPANESE CLOISONNÉ
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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                                                                                                                                              

 

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