wikipedia link

See also:
​

---

Cloisonné (Shippo-yaki)

Enamel, separated by wires, on metal base

---

Ando

---

Cloisonné Company ​七宝会社

​The Cloisonné Company was established in Nagoya in 1871 by Sosuke Okaya, a metal merchant from Nagoya, with the aim of maintaining the quality of cloisonné products and exporting them overseas. They later expanded their business to include other crafts, employing many skilled painters and producing exquisitely crafted and resplendent overglaze enamel products.
​The Cloisonné Company exhibited at the Philadelphia World's Fair in 1876 and won a gold medal at the Paris World's Fair in 1878.
Cloisonné porcelain is made by applying cloisonné glaze to areas of the porcelain surface that have been scraped away, resulting in a smooth finish. This piece was also created using the same technique.
Meizansha was a cloisonné company that existed in Nagoya as a cloisonné decorator in the 1870s.
The artist who painted this piece, Yasui Joho, won an award for his "ceramic painting" as a painter for works exhibited by the Cloisonné Company at the Second National Industrial Exhibition in 1881 (Meiji 14). At the Fourth National Industrial Exhibition, he also painted vases and confectionery containers for works exhibited by Takifuji Manjiro. The inscription "Eiki Mannen" means hibiscus and osmanthus.

---

Sato

Museum Examples
​Yokoyama Museum of Art

Shippo Fujitorizukabin
A pair of cloisonné vases with wisteria and bird motifs.
A pair of cloisonné vases with wisteria and bird design
Sato
Late Meiji to Taisho period, "Sato-made" seal
There are cloisonné artisans with the surname Sato in both Nagoya and present-day Ama City, and the artist cannot be identified from the inscription alone. The uniformity of the wisteria flowers and leaves offers a glimpse into the artist's character.
SATO
The first half of the 20c.
Kumeno would have been there
Shutaro Kuwano

​
しっぽうふじとりずかびん
七宝藤鳥図花瓶一対
藤と鳥の模様があしらわれた七宝焼きの花瓶一対
佐藤
明治時代後期~大正時代「佐藤製」印銘
佐藤姓の七宝業者は、名古屋と現・あま市の双方におり、銘からは作者を特定できない。藤の花や葉の植線が均一で、作者の人となりが垣間見える。
佐藤
20世紀前半。
くめのていたろう
桑野 締太郎

---

​Fujio Hara ​原不二夫

​Cloisonné enamelware typically uses metals such as copper as its base, but porcelain cloisonné uses porcelain as its base. The glaze on the surface of the vessel is scraped off, fine brass or silver wires are embedded, and then the cloisonné glaze is applied and fired. It was exported in the early Meiji period, but disappeared in the late 1870s. Records show that Fujio Hara applied cloisonné enamel to the bodies of Gosuke Kato and Masukichi Kato of Seto.
​ Fujio Hara had a history of exhibiting at the Paris World's Fair in 1878.

---

Hattori Tadasaburo 服部唯三郎

Museum Examples
​Yokoyama Museum of Art

Shippoumadoeryuzukapin
Cloisonné window vase with dragon design
Cloisonné vase with dragon design
Yuizaburo Hattori
A window painting of a pale-colored dragon, inscribed with the name "Nagoya Hattori" from the mid-to-late Meiji period, is surrounded by an abstract dragon. A phoenix is ​​placed on the opposite side, and the background is filled with a floral arabesque pattern. The inscription is carved on a square base, perhaps following the example of Namikawa in Kyoto.
HATTORI Tadasaburo
The second half of the 19c. to the first half of the 20c.

しっぽうまどえりゅうずかぴん
七宝窓絵龍図花瓶
龍文七宝花瓶
服部唯三郎
明治時代中期~後期「名古屋 服部」刻銘淡色の龍の窓絵を、抽象化した龍が囲う。反対側に鳳凰を配し、花唐草文で地を埋める。方形台座に銘を刻むのは、京都の並河に倣ったものか。
HATTORI Tadasaburo
19世紀後半から20世紀前半

---

Hayashi Chuzo 林忠蔵

Museum Examples
​Yokoyama Museum of Art

A sparrow with a tail in a vase
Cloisonne chrysanthemum sparrow vase
Cloisonné vase with chrysanthemum and sparrow design
Chuzo Hayashi
Late Meiji period to Taisho period, "Hechu" seal
The texture of the long petals of the chrysanthemum is beautifully captured, and gold thread is used to create the sparrows. It is believed to be the work of Hayashi Chuzo.
HAYASHI Chuzo The first half of the 20с.

しっぽうきくすずめずかびん
七宝菊雀図花瓶
菊とスズメの模様が描かれた七宝焼きの花瓶
林忠蔵
明治時代後期~大正時代「へ忠」印銘
花弁の長い糸菊の質感を見事に表現し、雀には金線を用いて植線する。林忠蔵の作とみられる。
林忠蔵 20世紀前半

---

Hayashi Tanigoro 林谷五郎

Museum Examples
​Yokoyama Museum of Art

Shippohoouzukabin
Cloisonné phoenix design vase
Cloisonné vase with pheonix design
Goro Hayashiya
Taisho era to early Showa era "Hayashiya" wire planting mark
Goro Tani was a master craftsman who excelled at creating innovative and sophisticated cloisonné designs and was active from the Taisho era to the early Showa era.
HAYASHI Tanigoro
The first half of the 20c.

しっぽうほうおうずかびん
七宝鳳凰図花瓶
鳳凰文七宝花瓶
林谷五郎
大正時代~昭和時代前期「林谷」植線銘
谷五郎は、斬新で洗練されたデザインの七宝制作に長け、大正時代から昭和時代前期にかけて活躍した、名工の一人である。
HAYASHI Tanigoro
20世紀前半。

---

Hayashi Yojiro 林要治郎

Museum Examples
​Yokoyama Museum of Art

Shippo Kusabanazuka Pin (Seven Treasures Flower Vase)
Cloisonné vase with grass and flower design
Hayashi Yojiro
Late Meiji period to Taisho period, inscribed with "Yo"
This vase is filled to the brim with a profusion of colorful flowers. The large white lily on the shoulder gives the whole piece a refined and elegant look.
HAYASHI Yojiro
The first half of the 20c.

Shippo Shobu Zukapin
Cloisonné iris design vase
Cloisonné vase with iris design
Hayashi Yojiro
Late Meiji period to Taisho period, inscribed with "Yo"
While this piece follows a common style for Owari cloisonné, the artist's individuality can be seen in the boldly stylized flowers. The orderly lines of the petals and the beautiful gradations of purple glaze are particularly striking.
HAYASHI Yojiro
The first half of the 20c.

---

​Hirosuke Gonda ​権田廣助

Marks from the following: "横山美術館300選" (​​Yokoyama Museum of Art's 300 Selections)

Hirosuke Gonda was born in Toshima Village, Kaito District (present-day Shippo-cho, Ama City) and studied under Kodenji Hayashi. He was adopted into the Gonda family in Nagoya and opened his own business in Nagoya in 1891. He exhibited his work at exhibitions both in Japan and abroad and won many awards.

---

Ito Zouemon 伊藤蔵右衛門

Museum Examples
​Yokoyama Museum of Art

Silver-plated cloisonné vase with a woman design
Cloisonné vase with lady design
Is it Ito (Higashi) Masuemon?
Late Meiji period
The painting depicts a woman picking irises, and the transparent glaze gives it a beautiful color.
They had fair skin and black hair, and used opaque glaze on their tabi socks. There were cloisonné artists with the surname Ito in Nagoya, Tokyo, Yokohama, and other places.
ITO Zouemon, estimated The first half of the 20c.

---

Kaiyosha 開洋社

Museum Examples
​Yokoyama Museum of Art

Porcelain plate with lacquer and cloisonné crane design.
Plate with crane design, cloisonné work onporcelain
Kaiyosha
This plate, made between 1878 and 1885 by the "Dai Nippon Kaiyo-sha" (Great Japan Open Sea Company), features a design of cranes painted on blue and white porcelain using inlaid lines and lacquer instead of glaze. Pairs of red-crowned cranes have long been considered auspicious and a popular subject in art.
KAIYOSHA 1878-1885
1818-1882

Marks from the following: "横山美術館300選" (​​Yokoyama Museum of Art's 300 Selections)

---

Kawaguchi Bunzaemon 川口文左衛門

Museum Examples
​Yokoyama Museum of Art

Silver-plated cloisonné vase with iris design
Cloisonné vase with iris design
Kawaguchi Bunzaemon
During the mid-to-late Meiji period, Kawaguchi Bunzaemon, whose work is inscribed with "Kawaguchi-zukuri," opened his business in 1882 (Meiji 15) and created cloisonné enamel, a technique of applying glaze to a silver base. He is a renowned craftsman from Nagoya who has received numerous awards at exhibitions both in Japan and abroad.
KAWAGUCHI Bunzaemon The second half of the 19c, to the first half of the 20c.

---

Kawano Yoshitaro 河野由太郎

Museum Examples
​Yokoyama Museum of Art

Shippo soryozukapin
Yokohama Cloisonné: Cloisonné vase with a design of a monk.
Cloisonné vase with monk design
Yutaro Kono
Late Meiji to Taisho period. Inscribed with "Made by Kono, Yokohama City".
Kono, who was a copperware merchant in Tokyo, moved to Yokohama and became a trader dealing in high-quality cloisonné enamelware. He produced cloisonné enamelware with exceptional descriptive power and won numerous awards at world's fairs.
KAWANO Yoshitaro The first half of the 20c.

---

Kumeno Teitaro 桑野締太郎

Museum Examples
​Yokoyama Museum of Art

He was the son of Jin'emon, the older brother of Kaisuke Tsukamoto, and was adopted by Kyūzō Kumeno, becoming active in Nagoya. He learned copper cloisonné from his uncle and biological father, and silver cloisonné from Bunzaemon Kawaguchi, a disciple of Kaisuke. At the 1904 St. Louis World's Fair, he won the top prize along with Sōsuke Namikawa and Shigebei Ando.

---

​Naoshige Yoshida ​吉田直重

A cloisonné craftsman of a cloisonné company who, together with his father, Yoshida Nagashige, attempted to develop cloisonné on porcelain from 1864 to around 1872. In 1877, his work exhibited by the cloisonné company at the First National Industrial Exhibition won the Phoenix Emblem Award. There are records that he also used clay bodies made by potters from Seto.

---

Ohta Jinnoe 太田甚之栄

Museum Examples
​Yokoyama Museum of Art

The cherry blossoms are covered in silver and then glazed with a transparent glaze to make them shine. Jinnosuke is considered the developer of this technique and the red transparent glaze, and in this work, he uses "red transparent" glaze on the tips of the petals.

---

Ohta Kichisaburo 太田吉三郎

Museum Examples
​Yokoyama Museum of Art

Yoshisaburo Ota was a master craftsman from Enjima (present-day Ama City) who began his work in the late Edo period and won numerous awards at world's fairs. He effectively used wires of varying thicknesses.

---

Ohta Tamejiro 太田為治(次)郎

Museum Examples
​Yokoyama Museum of Art

Bellflower mark inscription from the mid-to-late Meiji period.
Ota Tamejiro was a cloisonné craftsman from Toshima Village, and in 1904 (Meiji 37)

---

Ota Toshiro
1869-1940

---

Shorai Gama 松籟窟

Museum Examples
​Yokoyama Museum of Art

---

Suzuki Seiichiro 鈴木清一郎

Museum Examples
​Yokoyama Museum of Art

The inscription reads "Seiichiro Suzuki, craftsman at Dai Nippon Seisakusho Shichihōkai." Suzuki produced pieces not only on copper bodies but also on difficult-to-work-with porcelain bodies. Meiji 5 to Meiji 20 (around 1872-1887)

---

Suzuki Takisaburo鈴木瀧三郎

Museum Examples
​Yokoyama Museum of Art

Takisaburo was a cloisonné artist from Nagoya who exhibited his work at the Paris World's Fair in 1900. Mid-to-late Meiji period

---

Takeuchi Chubei 竹内忠兵衛

Museum Examples
​Yokoyama Museum of Art

Marks from the following: "横山美術館300選" (​​Yokoyama Museum of Art's 300 Selections)

---

​Toyosaburo Sano サノ
​Kyoto

​Toyosaburo Sano サノ
​Meiji Period. Kyoto, Japan

---

Tsukamoto Hikokichi 塚本彦吉

Museum Examples
​Yokoyama Museum of Art

Shippo Fujizuka Vase (Seven Treasures with Wisteria Design)
Cloisonné vase with wisteria design
Hikoyoshi Tsukamoto
From the late Meiji to Taisho periods, the "(bellflower) with the 'tsu'" mark is characteristic of Owari cloisonné enamelware, featuring a distinctive red transparent glaze. This color, known as "pigeon's blood" in Europe and America, is reminiscent of a ruby ​​gemstone. Gold was used to achieve this color.
TSUKAMOTO Hikokichi
The first half of the 20c.
しっぽうふじずかびん七宝藤図花瓶
藤の模様の七宝花瓶
塚本彦吉
明治時代後期～大正時代「（桔梗に）ツ」印銘尾張七宝の赤い透明釉は、欧米で「ピジョンブラッド（鳩の血）」と称される、宝石のルビーのような特徴。その発色には、金が使われている。
塚本彦吉
20世紀前半

---

Yamada 山田

Museum Examples
​Yokoyama Museum of Art

Wireless Cloisonné Mt. Fuji Design Vase
Wireless Cloisonné Mt. Fuji Design Vase - Pair
A pair of cloisonné vases with a Mt. Fuji design
Yamada
A pair of wireless cloisonné vases from the late Meiji to Showa period, bearing the "Yamada" seal, depicting the summit of Mt. Fuji peeking through the clouds. Yamada was the son of Kaisuke, and produced wireless cloisonné at a cloisonné company in Tokyo and at the factory of Togawa Sosuke. Could this be Jinsuke?
YAMADA
The first half of the 20th century
むせんしっぽうふじさんずかびん
無線七宝富士山図花瓶-対
富士山のデザインが施された七宝花瓶のペア
山田
明治時代後期～昭和時代「山田」印銘無線七宝で、雲間からく富士の頂部を飾った一対。山田は貝助の子で、東京の七宝会社と濤川惣助の工場で無線七宝を制作し、甚助しています。
山田
20世紀前半

---

Cloisonné, Champlevé, and Enamel on Metal Netsuke

Totai Shippo Cloisonné

Cloisonné enamel, separated by wires, on porcelain or ceramic base

Champlevé

---

Museum Examples

LACMA

Yokoyama Museum of Art

Cloisonné Company
Cloisonné enamel quickly gained popularity at the Paris World's Fair in 1867, leading to exports. However, producers were unfamiliar with the market, causing problems. Therefore, Nagoya Prefectural Governor Moritome Iseki and others encouraged Sosuke Okaya, a hardware merchant in Teppo-cho who traded in copper cloisonné bases in Nagoya, to establish Nagoya's first private company, the "Cloisonné Company," in 1872. They appointed Jin'emon Tsukamoto, Kaisuke's brother, as the factory foreman, and in 1880, they invited Kodenji Hayashi to become the factory manager, expanding into Tokyo. The company also manufactured cloisonné enamel on porcelain and performed overglaze painting on porcelain.
Since the Vienna World's Fair, the Cloisonné Company has consistently won awards at domestic and international exhibitions
However, the losses from the recession caused by the Matsukata deflation became irrecoverable, and the manufacturing and sales were taken over by Ando Cloisonné, the Tokyo factory was transferred to Togawa Sosuke, and the company was dissolved in 1890
七宝会社
七宝は早くも、慶応3年(1867)のパリ万国博覧会で好評を博して輸出が始まるが、生産者たちは市場に疎く、弊害が生じた。そこで名古屋県権令・井関盛良もりとめらは、名古屋で七宝の銅製素地を商っていた鉄砲町の金物商・岡谷惣助に勧め、明治5年(1872)に名古屋初の民間会社「七宝会社」を設立させる。自社工場の職工長には貝助の兄である塚本甚右衛門を迎え、同13年(1880)には林小傳治を工場長に招いて、東京へも進出した。同社では磁胎七宝も製造するほか、 磁器の上絵付も行っていた。
七宝会社はウィーン万国博覧会以降、 内外の博覧会で必ず受賞をしている。
だが、松方デフレによる不況の損失が回収不可能となり、製造と販売を安藤七宝店が継承、東京工場を濤川惣助へ譲渡して、明治23年(1890)に解散した。

Ceramic cloisonné
Then, the cloisonné glaze is fired onto the ceramic body.
It's called cloisonné. The copper body is adorned with a vibrant cloisonné glaze.
The color is obscured by the underlying copper color showing through from below.
Conventional cloisonné is made from metals such as copper. In contrast, while it can damage the base material of ceramics and porcelain, it can bring out the beautiful original colors of white ceramics. However, the process of scraping off the glaze from the first-fired white ceramic body before applying the cloisonné is time-consuming and technically difficult, as it is prone to cracking. Therefore, it was only produced for a short period in the early Meiji era.
The first instance of cloisonné enamel on porcelain was when Tsukamoto Kaisuke had porcelain fired by Kohei of Mino Province around 1865, and applied cloisonné enamel work to it.
It is believed that Yoshida Nagashige and his son Naoshige revived this art form, calling themselves the "inventors of porcelain cloisonné." Takeuchi Chubei and Kinkozan Sohei, among others, produced cloisonné enamel in ceramic form.
陶磁胎七宝
して七宝釉を焼き付けたものを、陶磁胎
七宝という。銅胎は七宝釉の鮮やかな
色を、素地の銅の色が下から透けて阻
通常の七宝は、銅などの金属で制作する。これに対し、陶器や磁器を素地と害してしまうが、白い陶磁器の胎であれば、本来の美しい発色を活かすことができる。しかし、七宝加工を施す前に、いつたん焼成した白素地の釉薬を削り取る手間がかかり、亀裂も生じやすく技術的に困難なため、明治時代前期の短期間しか制作されなかった。
磁胎七宝は、塚本貝助が慶応元年 (1865)頃、美濃の幸平に焼かせた磁器へ七宝の細工をしたのが、最初である。
それを再興させたとみられるのが、吉田長重と直重父子で、「磁器七宝発明人」 を名乗った。竹内忠兵衛や錦光山宗兵衛らが、陶磁胎で制作している。

Groupings