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- participation in international expositions, starting with the Exposition Universelle or Grand Exhibition in Paris in 1867, where foreigners had the opportunity to see products from exotic Japan.
Along with spectacular ceramic, cloisonne, metalwork, lacquer and textile products, okimono sculptures were exhibited in the late 19th century during the Meiji period at domestic industrial expositions as well as at international expositions, where Japan was singled out for its grace and elegance of design and perfection of workmanship.
58 selected bibliography
Bordignon, Laura. Golden Age of Japanese Okimono, Dr. A. A4. Kanters Collection. London, 2010.
However, the okimono craftsmen did not alter their distinctly Japanese flavour, but did cater to the foreigners' taste by overloading some sculptures with excessive amounts of finely carved details as well as exhibiting a bias towards Western naturalism. Sculptures of figures and groups, portraying aspects of Japanese traditional occupations, were particularly popular, with mythical and supernatural animals and beings having less appeal. The okimono varied from beautifully sculpted individual pieces to mass-produced objects of mediocre quality. Okimono show a seemingly endless number of subjects and follow many of the same themes as used by netsuke. Most okimono were made of wood and ivory, but lacquer, ceramic, amber, cloisonne and metal materials were also used.
Earle, James. Splendors of Imperial Japan: Arts of the Meiji Period from the Khalili Collection. London, 2002.
Lester, Gerd. "Okimono: Decorative Wood and Ivory Carvings for the Tokonoma." Arts of Asia, Vol. 19, No. 6, 1989.
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