Cloisonné is an ancient metalworking technique that was first developed in the Near East, before spreading to the Byzantine Empire and from there along the Silk Road to China, where it was then imported to Japan. Thin strips of wire were soldered to a metal body and the voids (cells or cloisons) were filled in successive stages with liquid enamel, fired hard. The vessel was then ground down and polished to reveal the final detailed effect.

During the late 19th century, the Museum collected a significant number of artefacts from the Asia-Pacific region. These acquisitions reflect the Western fashion for Japanese objects, linked to the Aesthetic movement and to the interest in wares displayed by non-European countries at international exhibitions throughout the world, including the Sydney International Exhibition of 1879.

This object is part of the Eadith Hill collection of Japanese ivories, cloisonné, pottery and display cabinets donated to the Museum in 1950, which were collected from all over the world. As well as being a keen collector, Hill was a philanthropist and charity worker who in 1918 received an Order of the British Empire. This significant collection, comprising a large amount of material from Japan, assists in documenting changes in Japanese art and craftwork. In addition it reflects the interest that Japan held for Western countries as it opened to foreign trade in the mid to late 1800s, along with the effects of this trade on traditional Japanese arts and crafts practices.

REF:
Bilney, Elizabeth (ed), 'Decorative Arts and Design from the Powerhouse Museum', Powerhouse Publishing, 1991
Coben, Lawrence A, and Dorothy C Ferster, 'Japanese Cloisonné: History, Technique, and Appreciation', Weatherhill, New York, 1982
Garner, Sir Harry, 'Chinese and Japanese Cloisonné Enamels', Faber and Faber, London, 1970
Richards, Dick, 'Japan: Three Worlds', Art Gallery of South Australia, Adelaide 1999
Volker, T, The Animal in Far Eastern Art and especially in the art of the Japanese Netsuke with references to Chinese origins, traditions, legends, and art', E J Brill, Leiden, 1975

During the early 1600s Japanese rule banned nationals from either going abroad or returning home if already out of the country. Similarly foreigners, including missionaries and traders, were expelled from the country and banned from entering, leaving the country in relative isolation for a century and a half. This was largely due to fear of military conquests by European powers, along with the fear that outside ideas might upset social order and cultural traditions. This period, although isolating, allowed for an exploration of identity and culture and lead to productivity and refinement of Japanese artistic, social and religious heritage. Early Japanese cloisonné catered to the wealthy merchant class and ruling samurai, and took the form of sword furniture, such as tsubas, and decorative objects. Cloisonné increasingly developed to include vessels and other items.

In July 1853 the US Navy entered the bay at Edo, demanding that Japan resume trade with the West. Fifteen years later the shogun resigned, being replaced by the Emperor. In March 1876, during the Meiji period (1868-1912), the Hatôrei edict was passed, officially abolishing the samurai as a class and ending their privilege of carrying swords.

This edict, along with the fact that Japan had recently opened to western trade, marked a decline in the demand for cloisonné within Japan, with Japanese goods being replaced by those of European or American manufacture. Japan, however, held tremendous fascination to western countries. Promotion of Japanese cloisonné and other items at international exhibitions such as the 1867 Paris International Exposition led to the export of numerous products from Japan, thus providing an alternate marketplace for traditional artists. This period also marked an increase in travel from Western countries to Japan, and traditional wares such as cloisonné became popular souvenirs and collectors items.


REF:
Bilney, Elizabeth (ed), 'Decorative Arts and Design from the Powerhouse Museum', Powerhouse Publishing, 1991
Coben, Lawrence A, and Dorothy C Ferster, 'Japanese Cloisonné: History, Technique, and Appreciation', Weatherhill, New York, 1982
Garner, Sir Harry, 'Chinese and Japanese Cloisonné Enamels', Faber and Faber, London, 1970
Richards, Dick, 'Japan: Three Worlds', Art Gallery of South Australia, Adelaide 1999
Volker, T, The Animal in Far Eastern Art and especially in the art of the Japanese Netsuke with references to Chinese origins, traditions, legends, and art', E J Brill, Leiden, 1975

Kettle with lid, cloisonne / silver, maker unknown, Japan, date unknown

A cloisonne kettle with lid. The kettle is made up of six panels that are each covered in an intricate floral pattern on a bright blue background. Every second panel also features an exotic bird with long flowing tail feathers among the flowers. The top of the kettle, the lid, the struts between the six sides and the spout of the kettle feature a floral design on a black background. There is a silver knob in the middle of the circular lid that is in the shape of a closed flower. A square handle extends up over the top of the kettle. The handle is decorated on three sides with a floral pattern on a red background.

A4262-45