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For its display, this museum has carefully selected exquisitely detailed masterpieces from the late Edo and Meiji periods, and in particular, from the disciplines of makie lacquerware, cloisonne ware, metalwork, and Kyoto Satsuma ware.
Many of the artworks on display were commissioned by the imperial family and produced by officially appointed artists of the imperial household, and then eventually found their way into the hands of collectors abroad, which is where they were found and purchased in order to return them to Japan.



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SHIRAYAMA Shosai, KAWANOBE Iccho, AKATSUKA Jitoku, KANSHOSAI, etc.
   
Lacquerware exists in Vietnam, China and some other countries but makie was developed solely in Japan and is unique among the many techniques in the lacquer arts. On top of a black or red background, makie lacquer is sprinkled with gold and silver dust for ornamentation, and this ranges from being brilliantly colored to having quieter and more refined patterns, which is one of its charms. This basic technique was refined to perfection by the Heian period, and in the Momoyana to Edo periods, Portuguese and Dutch merchants were already exporting pieces overseas, and had piqued the interest of many Europeans. The artistic and technical dexterity reached its peak around the late Edo to early Meiji era, however, and among the many master artists who flourished were people such as Shibata Zeshin, Shirayama Shosai, Kawanobe Iccho, and Akatsuka Jitoku.
>>Click here for a movie describing the techniques (Japanese version only) >>






NAMIKAWA Yasuyuki, HAYASHI Kodenji, NAMIKAWA Sosuke, HIRATSUKA Mohei, etc.
   
The history of Japanfs cloisonne manufacturing goes back well into the Momoyama period. Cloisonne became popular only after the Edo period, however, and until then various cloisonne techniques were kept hidden from the public and only used miscellaneously for such things as nail covers and ornamentation for handguards of swords. Modern cloisonne was started by an Owari domain samurai by the name of Kaji Tsunekichi, who purchased cloisonne works (probably Chinese-made) from a Dutch merchant in the late Edo period and subsequently carried out his own analysis of wired cloisonne. The cloisonne technique also traveled to Kyoto at the start of the Meiji period, and Namikawa Yasuyuki declared wired cloisonne to Japanfs mainstream cloisonne technique, and thus raised its status from handicraft to artwork.
>>Click here for a movie describing the techniques (Japanese version only)>>






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KANO Natsuo, UNNO Shomin, SHOAMI Katsuyoshi, KAJIMA Ikkoku, etc.
   
Japanese metalwork is said to have originated from technology that was brought from mainland Asia in the Yayoi period. Perhaps because of its wide-ranging uses, metalwork developed a relation to everyday Japanese life, which together with its being prized for its technical complexity and beauty made it over into a unique Japanese art. Meiji metalwork above all has left us with unparalleled works of art, the like of which one seldom sees in this world.
Highly-developed chiseling techniques, complex colorful inlay and iroe technology, and coloring techniques that give the pieces their lush hue -- these are what allow metalwork to generate its own world of beauty. The Meiji period gave birth to these artworks, and the art form itself had never before existed. It might be argued that the initial establishment of metalwork was the result of the accumulation of technology by metalsmiths up through the Edo period and a Meiji social setting open to a rapid influx of Western culture, and that this was coupled with the support the officially appointed artists of the imperial household received from the imperial family.
>>Click here for a movie describing the techniques (Japanese version only)>>






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KINKOZAN, YABU Meizan, SEIKOZAN, SHIZAN, etc.
   
Satsuma ware was first produced during the Momoyama period in the kiln of Osumi in Kagoshima Prefecture by potters from the Korean Peninsula. In 1867, the Satsuma Domain participated independently in the Paris Expo, and the Satsuma ware that was submitted received critical praise.
Thereafter, pottery colored in the Satsuma style could be seen in places such as Kyoto, Osaka, Ishikawa, Tokyo, Kanagawa, and many pieces also ended up overseas, further establishing its status as one of Japanfs gbrandsh in pottery. Given that Japan lacked industrial goods at the time, Satsuma ware, along with cloisonne and metal work, was one of Japanfs leading exports. The Kyoto Satsuma ware produced especially in the Awataguchi region was popular because it typically showed in their composition the great artistic sense of Kyotofs cultural bastion. Among the many furnaces at the time, Satsuma ware made in Kinkozan and Yabumeizan were known to produce superior quality pieces, and to this day, even after the complete disappearance of furnaces, these Satsuma ware pieces have many fans worldwide.






ONp 337-1 kiyomizu-sanchome sanneizaka kita-iru kiyomizudera-monzen higashiyama-ku kyoto, 605-0862
PhF075-532-4270 FaxF075-532-4271@E-mail:info@sannenzaka-museum.co.jp
Copyright (C) 2007 by kiyomizu sannenzaka museum.All rights reserved.Unauthorized use or reproduction of screen images and texts prohibited.@photo:K.yoichi