Please find hereafter more specific terms related to the category cloisonne

Cloisonne

The first examples of Japanese cloisonné can be found at the beginning of the Edo period (1603 - 1868). It was Hirata Hikoshiro, better known under his artist name "Donin", who made the first shippo or cloisonné work. He founded a line of cloisonné makers and the manufacturing of cloisonné was kept as a secret in the family. From the end of the 17th century on, due to the Hirata line, the production of cloisonné increased. Important influences came from China and Korea. Mostly silver wire and silver solder, which was replaced by glue around 1680, was used in Japanese cloisonné (Chinese used copper wire). The early cloisonné had a fine hammered copper base, but the under and upper rim were big and heavy. The colour scheme was rather cheerless and dark green was often used as background colour. Most objects were decorated with birds, aquatic animals, flowers and blossoms, but also circle and spiral motifs were very popular. No important changes were brought to the cloisonné styles and production until Kaji Tsunekichi, a samurai from Nagoya, made several attempts to make cloisonné in 1830. It is in 1838 that he succeeded in his attempts. He actually reinvented the production process. His work was of great importance to the development of cloisonné in the 19th century and even led to a flourishing export trade some 20 years later. It is due to the new styles and motifs that cloisonné revived. During the second half of the 19th century textile motifs first appeared on cloisonné. Another motif is the karakusa (a Chinese scrolling motif with small leaves and branches). The export of cloisonné really took off after 1860. The famous Kodenji factory started in 1861. As a result of the increasing demand, the importance of cheap and fast production techniques grew and the quality declined. On the other hand, this evolution stimulated the development of new techniques. For example, Tsukamoto Kaisuke introduced the technique of jiki shippo or totai jippo. Both ceramics and porcelain were used as foundation, of which Satsuma is one of the most famous examples. Not only enamel, but also lacquer was used on ceramic objects. The subtle decorated Meiji vases are likely to be the most popular ones in the West. In 1871 a company was founded to help the cloisonné workers around Nagoya who suffered from the recession. Artists from this company later formed the Namikawa Sosuke workshop. Members from the Sosuke group in Tokyo will create in 1889 the first wireless cloisonné (musen jippo). Sosuke, who worked very hard to create this fluent and painted effect, became very famous and was the only cloisonné artists that was declared a member of the imperial court. 1871 is also the year that Namikawa Yasuyuki, one of the greatest shippoo artists, started a company in Kyoto. Indeed, large technological renovations were the result of his co-operation with Gottfried Wagener and Tsukamoto Kaisuke. Also the Ahrens company has been of great importance for the development of cloisonné. With lustre colours, fine polished surfaces, reflecting semi-transparent enamel colours and very fine machine-made silver wires, the art of cloisonné enters a new era.One of the most difficult colours to make was reflecting semi-transparent black, later often used as background colour (invention year = 1879). Ogasawara Shuzo was one of the first artists to apply the ginbari technique. Time-consuming creations and excellent craftsmanship were highly appreciated in Japan. Again Namikawa Yasuyuki was one of the masters in this field. Later on, different styles were developed within the Yasuyuki style. Other inventions such as moriage and tsuiki-jippo originate from the early 20th century.

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