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- Meiji period cloisonne differed greatly from the earlier Edo period works in shape, design, colour and techniques and was noted for its marvelous minute detailing and high standard of production. The most popular subjects were naturalistic depic�tions of birds, flowers and landscapes as well as geometric patterns. New firing methods and many flawless techniques were perfected in Meiji Japan, allowing them to surpass the Chinese industry in excellence. Meiji innovations include the use of lacquer to affix brass and silver wires to the body, fine and flexible wire work, new opaque materials, transparent enamels over metal foil and the use of porcelain rather than metal for the base. The innovations also included the production of wireless cloisonne, the enamelling of interior surfaces and the perfection of a technique called plique-a-jour or shotai-shippo in Japanese, which were pieces created without a base so that light could shine through.
The manufacture of cloisonne was labour intensive and costly. The popular demand caused the market to be flooded with cheaply produced, inferior products. Because of this, production declined by two thirds between 1905 and 1911. By the beginning of World War I there was very little foreign interest in Japanese cloisonne. The cloisonne industry was typical of many Meiji art forms, it developed rapidly with the opening of Japan and was dependent on overseas markets. When foreign demand de�clined so did the industry.
Metalwork
Metalwork was a centuries-long tradition in Japan and the met�allurgists were masters at their craft. Prior to the Meiji restora�tion, metalwork was largely devoted to Buddhist statues and bells, as well as samurai paraphernalia such as sword acces�sories, helmets and armour. During the Meiji era two events changed the lives of the metalworkers and rendered many of their products obsolete: A decree abolishing the wearing of swords was declared thus disempowering their samurai pa�trons; and with the establishment of Shintoism as the national religion, the production of Buddhist artifacts declined. There�fore, the metalworkers were deprived of their traditional pa�trons and many were forced to abandon their specialized fields
30/ MEIJI
and reorient themselves to the new age. They turned to creating a great variety of articles for export and for home consumption such as vases, boxes, kettles, braziers, incense burners, writing cases, water droppers and pipes, as well as sculptures of hu�mans, animals and insects.
One of the greatest Meiji metalworkers was Kano Natsuo (1828-1898), who was famous for his incised designs on metal that resembled brush painting, and for his designs on the gold and silver coinage of the Meiji period. Other leading craftsmen in the art of metalwork include Unno Shomin (1844-1915), who was renowned for using ivory inlay and different coloured metal combinations; Suzuki Chokichi (1848-1919), who was well known for his realistic cast sculptures of animals; Okazaki Sesshin, who was noted for his remarkable bronze statues and door panels; and an artist named Miyao who produced superb bronze sculptures, but about whom very little is known. There were also a large number of lesser known metalworkers, who were nonetheless highly skillful and produced outstanding works of art. Japanese metal craftsmen distinguished them�selves in both the 1873 Vienna Exposition and the 1885 Nurem�berg Metalwork Exposition.
Meiji metalwork is quite distinctive and has a great deal of artistic appeal. Some metalworkers strove to ornament their work with decorative compositions that resembled Japanese painting scenes. The hues and patinas of the range of metals and alloys allowed them to achieve a rich palette of colours. The tremendous skill of the Meiji metalworkers can be seen in the variety of chiselling and inlaying techniques. Their painstaking work produced magnificent works with great fidelity of detail and texture.
Ivory and Wood Sculptures
The art of sculpting also underwent many upheavals in the changing atmosphere of Meiji Japan. The predominance of Shin�toism over Buddhism left many carvers of Buddhist themes redirecting their interests.
During the early part of the period many sculptors of ivory and wood turned to carving small toggles called netsuke for medicine cases, or inro which were worn with the traditional
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