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48. Tobacco cabinet (tabako- dansu) / Petit meubte pour pipe et tabac (tabako-dansul Signed Yamada Toshi 18th century Silver, silver lacquer ground with silver, gold, black and brown
The most spectacular development in the crafts of the Edo period was the production of porcelain. Korean potters, who were kidnapped by Hideyoshis armies during Japans invasion of Korea in the late 16th century, helped kick-start the ceramic industry in Edo Japan and ushered in a fantastic period of porcelain making. The daimyo kept a keen eye on porcelain production, especially in regards to the lucrative export of these goods to Europe. The daimyo, who entertained their peers a great deal, competed with each other for prestige by showing off the finest ceramic wares from their home regions. The 17th and 18th centuries witnessed major progress in the manufacture of porcelain in Japan, particularly the products from the Arita (Imari), Kakiemon, Kutani, Nabeshima and Hirado kilns, which produced a great variety of forms and designs and reached standards of exemplary elegance and refinement. The Nabeshima clan, in particular, produced porcelain with extremely high standards. The Edo period also saw the works of such incredible individual masters as Nomomura Ninsei (1598-1661) and Ogata Kenzan (1663-1743), who excelled in producing brilliant and highly original decorations. Kenzans flamboyant impressionistic style and exquisite, delicate simplicity brought to ceramics a rich artistic sensitivity that is unrivalled by any other Japanese potter.
During the Edo period many ceramic utensils were made for the tea ceremony, which was a popular and highly regimented aesthetic ritual performed according to strict rules that also applied to utensil usage. The ceramic utensils used in the ceremony were admired for asymmetry, unpredictability and rustic beauty. Seto, Karatsu, Raku, Hagi and Tamba were popular wares used in the tea ceremony. While these expensive products were at first purchased only by the upper class, the financial rise of the merchants allowed them to also purchase luxurious ceramic products.
Of all the crafts of the Edo period, lacquer occupied an exalted position in the hierarchy of the arts. Its purchase was mainly reserved for the wealthy. The lacquer craftsmen of the Edo period made items that remain unsurpassed for their variety and technical finesse, especially in maki-e (dusted with metallic powders) lacquer objects where the designs were executed to perfection. Works such as kobako (incense boxes), suzuribako (writing boxes), tabako-dansu (smoking sets with pipes and cases), kaioke (shell buckets), kushi (combs), inro (medicine cases), ewers, utensils and containers of all shapes and sizes were astonishing in their inventiveness and their combination of vigour, craftsmanship and elegance as well as their use of gold and silver decorations. However, superior to all other lacquer products were the magnificent, lacquered wood palanquins with painted interiors that were mainly used on special occasions, like transporting a bride and her property in large wedding processions.
Both the upper and the plebian classes of the Edo period liked to enhance their personal appearance with exquisite little netsuke (toggles or cord finials) hung at the girdle and attached to a purse, pouch or medicine container {inro). The art of
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