Kyo Shippo

The history of cloisonne work in Kyoto can be traced back to the Momoyama period (1573-1600) and early Edo period (1603-1868). For example, the goldsmith Yoshinaga is said to have worked on the pulls and nail covers for the Katsura Imperial Villa and the Manjuin Monzeki at the request of Kobori Enshu. Hirata Hikoshiro Dōjin also used his unique transparent glazes to decorate nail-holders and sword mounts for samurai and court nobles' residences. Michihito's school extended its activities from Kyoto to Sunpu and Edo, where it continued for 11 generations until the Taisho era (1912-1926). Even before the Muromachi period (1333-1573), cloisonne ware imported from Ming China through the Kansai trade was introduced as “shichibo-ruri,” and was used in the zashiki decoration of the Higashiyama-den Gosho (the predecessor of Ginkakuji Temple). However, during the Warring States period, the flamboyant cloisonne enamel ware was not well accepted due to the influence of the tea ceremony, which emphasized wabi. Later, during the Rimpa school period, the rich colors and decorative qualities of cloisonne ware came to be appreciated again. In the mid-Edo period, cloisonne decorations were applied to the “Donshi-no-Ma” and “Seigai-no-Ma” of Kakunoya, and a wide variety of cloisonne work began to be produced. At this time, cloisonne enamel ware was called “beadro-za” or “shichibo-ryu-shi” in Kyoto. In the Meiji period (1868-1912), the traditional cloisonne enamel craftsmen suffered a severe blow with the transfer of the capital to Tokyo and the end of the samurai era. On the other hand, the government encouraged the production of cloisonne enamel ware as a means of earning foreign currency, and cloisonne enamel ware rapidly developed in Owari and other parts of Japan as an export industry. In Kyoto, under the guidance of government authorities, emerging businesses and traditional potters and metal workers devised their own techniques and engaged in production. In particular, the German scientist Gottfried Wagener developed transparent glazes, which enabled the realization of vivid colors that were different from those of the past. Thus, while Kyo cloisonne enamel ware has changed with the times, it has developed in its own unique way, deeply connected to the culture and aesthetic sense of Kyoto.