ATTRIBUTED TO THE TAKAOKA WORKSHOP OF KANAZAWA An Impressive Pair...
ATTRIBUTED TO THE TAKAOKA WORKSHOP OF KANAZAWA
An Impressive Pair of Inlaid Bronze Monumental Elongated Baluster Vases with En-Suite Stands
Meiji era (1868-1912), late 19th/early 20th century
The mottled-brown patinated body of each vase chiselled and decorated in flat and relief inlays of gold, silver, shakudo, bronze and copper with several registers of ornament, the main surface with a mirrored kacho-ga (bird-and-flower) design, each vase depicting a pair of kiji (pheasants) on one side perched on hanakaido (hall crabapple) branches with their heads turned and eyeing a solitary bee hovering among the blooms and two yama semi (crested kingfishers) flying towards flowering yuri (lilies), nogiku (daisies) and shukaido (hardy begonia) on the other, around the shoulder two wide bands enclosing a stylised bird on either side and a formalised foliate motif, separated by a narrow band enclosing repeated confronting mythological creatures, around the bottom section flowering kohone (nuphar japonicum) and around the base repeated, tall arabesque foliate motifs, elongated demon-mask handles fitted with a double ring applied to either side, each vase supported within an en-suite tall elaborate stand made up of five openwork zoomorphic elements in ancient Chinese style, carved with a prominent mythological beast-head, the stands and handles also with inlaid flat gold and silver decoration; each vase unsigned. Each vase approx., 72cm (28 3/8in) high. (2).
During the Edo period (1615–1868), the cities of Kanazawa in Kaga Province (present-day Ishikawa Prefecture) and Takaoka in Etchu Province (Toyama Prefecture) developed as major artistic metalworking centres thanks to the patronage of the Maeda clan, the wealthiest in all Japan aside from the ruling Tokugawa dynasty. In the very early years of the Meiji era, government bureaucrats encouraged the development of a metalworking industry in both cities, in particular by commissioning work for display at the Vienna Weltausstellung (World Exposition) held in 1873. Following the success of Japanese metalwork at that great global event, Takaoka entrepreneurs set up private companies to capitalize on new opportunities for international trade. The city remains to this day a major centre for the manufacture of ornamental bronze.
Like Suzuki Chokichi in Tokyo, craftsmen in Takaoka and Kanazawa combined outstanding bronze-casting and bronze-finishing skills, honed by centuries creating Buddhist images complemented by the crafts of inlay and chiselling that had long been an essential component of sword decoration. For two preparatory drawings detailing identical handles, decoration and feet for another vase of similar shape and design, see Meiji-ki Takaoka Doki Chokin Meisaku Hozonkai (Association for the Preservation of Masterpieces of Meiji-Era Bronze Vessels and Metalwork from Takaoka), Takaoka doki: Meiji-ki chokin meisakushu (Takaoka Bronzes: Collected Masterpieces of Meiji-Era Metalwork). Takaoka, Toyama Prefecture, 1986, unpaginated, nos.97 and 98.
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ATTRIBUTED TO THE TAKAOKA WORKSHOP OF KANAZAWA
An Impressive Pair of Inlaid Bronze Monumental Elongated Baluster Vases with En-Suite Stands
Meiji era (1868-1912), late 19th/early 20th century
The mottled-brown patinated body of each vase chiselled and decorated in flat and relief inlays of gold, silver, shakudo, bronze and copper with several registers of ornament, the main surface with a mirrored kacho-ga (bird-and-flower) design, each vase depicting a pair of kiji (pheasants) on one side perched on hanakaido (hall crabapple) branches with their heads turned and eyeing a solitary bee hovering among the blooms and two yama semi (crested kingfishers) flying towards flowering yuri (lilies), nogiku (daisies) and shukaido (hardy begonia) on the other, around the shoulder two wide bands enclosing a stylised bird on either side and a formalised foliate motif, separated by a narrow band enclosing repeated confronting mythological creatures, around the bottom section flowering kohone (nuphar japonicum) and around the base repeated, tall arabesque foliate motifs, elongated demon-mask handles fitted with a double ring applied to either side, each vase supported within an en-suite tall elaborate stand made up of five openwork zoomorphic elements in ancient Chinese style, carved with a prominent mythological beast-head, the stands and handles also with inlaid flat gold and silver decoration; each vase unsigned. Each vase approx., 72cm (28 3/8in) high. (2).
During the Edo period (1615–1868), the cities of Kanazawa in Kaga Province (present-day Ishikawa Prefecture) and Takaoka in Etchu Province (Toyama Prefecture) developed as major artistic metalworking centres thanks to the patronage of the Maeda clan, the wealthiest in all Japan aside from the ruling Tokugawa dynasty. In the very early years of the Meiji era, government bureaucrats encouraged the development of a metalworking industry in both cities, in particular by commissioning work for display at the Vienna Weltausstellung (World Exposition) held in 1873. Following the success of Japanese metalwork at that great global event, Takaoka entrepreneurs set up private companies to capitalize on new opportunities for international trade. The city remains to this day a major centre for the manufacture of ornamental bronze.
Like Suzuki Chokichi in Tokyo, craftsmen in Takaoka and Kanazawa combined outstanding bronze-casting and bronze-finishing skills, honed by centuries creating Buddhist images complemented by the crafts of inlay and chiselling that had long been an essential component of sword decoration. For two preparatory drawings detailing identical handles, decoration and feet for another vase of similar shape and design, see Meiji-ki Takaoka Doki Chokin Meisaku Hozonkai (Association for the Preservation of Masterpieces of Meiji-Era Bronze Vessels and Metalwork from Takaoka), Takaoka doki: Meiji-ki chokin meisakushu (Takaoka Bronzes: Collected Masterpieces of Meiji-Era Metalwork). Takaoka, Toyama Prefecture, 1986, unpaginated, nos.97 and 98.
