The Art of Cloisonné: Japanese Meiji Period Innovations and Global Context
The Meiji period (1868-1912) represents a watershed moment in Japanese decorative arts, particularly in the remarkable development of cloisonné enamel techniques. This era of unprecedented artistic innovation transformed cloisonné from a modest decorative technique into an internationally acclaimed art form that captivated Western markets and collectors.
The Evolution of Japanese Cloisonné
Cloisonné enamel (called "shippo" in Japanese) was not indigenous to Japan but likely arrived via China sometime during the 16th century. However, it remained relatively undeveloped until the Meiji period when Japanese artisans revolutionized the technique through remarkable innovations.
Early Japanese cloisonné was characterized by simple designs with limited colour palettes on small objects. The Meiji period witnessed an extraordinary transformation of this craft, driven by the opening of Japan to international trade after centuries of isolation, government policies encouraging artistic innovation for export markets, cross-cultural exchange of techniques and aesthetics, and fierce competition among workshops to develop new methods and capture Western attention.
Technical Innovations of Meiji Cloisonné
The most significant technical achievements of Meiji-era cloisonné cantered around several groundbreaking innovations, with mirror black enamel perhaps being the most impressive. This deep, glossy black surface was previously impossible to achieve due to technical limitations in controlling oxidation and firing temperatures. The breakthrough came from artisans like Namikawa Yasuyuki who, working with the German chemist Gottfried Wagner, perfected methods to create this flawless, mirror-like black background against which other colours could dramatically contrast.
A Fine Cloisonne Enamel Box
An example of the mirror black technique
The creation of mirror black required extraordinary precision. Artisans developed specialized copper compounds mixed with manganese and cobalt oxides to achieve the perfect black base. The firing process was particularly demanding, requiring multiple firings at precisely controlled temperatures, too hot would cause bubbling or crazing, too cool would result in dull surfaces. The final polishing techniques used specially formulated abrasives and hours of careful hand buffing to achieve the reflective quality that gives mirror black its name. This technical mastery allowed Japanese artists to create dramatic night scenes, where tiny elements in gold wire and vibrant enamel would seem to float against the infinite darkness of the mirror black background.
Japanese artists also developed wireless cloisonné (musen-jippo), a technique to remove or hide the metal cloisons (wire separations), creating seamless colour gradations that allowed for naturalistic painting effects previously impossible in traditional cloisonné. This was perfected by the workshop of Namikawa Sosuke. Paired with this was the perfection of plique-à-jour (translucent enamel without backing), creating a stained-glass effect and moriage, the building up of layers of enamel to create three-dimensional effects, adding textural depth to pieces that had previously been limited by the constraints of the technique.
An example of the musen enamel technique
by Gonda Hirosuke
An example of plique-à-jour
Global Context
When compared with cloisonné traditions from other regions, Meiji Japanese cloisonné stands apart in ways that highlight its exceptional character. Chinese cloisonné represents the oldest continuous tradition from which Japanese techniques evolved. Chinese works typically featured bolder colours, more prominently visible wires and traditional auspicious motifs. The Chinese palette often relied on vibrant azure blues, deep reds and emerald greens set against bronze or brass bases. Japanese artisans took this foundation and refined it dramatically, developing nearly microscopic wires, creating subtler colour transitions, and embracing naturalistic designs that captured seasonal elements with extraordinary delicacy.
European cloisonné developed along quite different lines, particularly in France where artists like Eugène Feuillâtre and René Lalique incorporated cloisonné techniques into Art Nouveau jewellery and decorative objects. Lalique, though more famous for his glasswork, occasionally employed cloisonné elements to enhance his jewellery designs, subordinating the technique to his overall aesthetic vision rather than treating it as the primary focus. European cloisonné typically emphasized the decorative qualities of the technique, often using it alongside gemstones and other materials as one element in more complex compositions. The colour palettes tended toward pastels and gold, with themes drawn from European natural motifs like local flowers, insects and mythological subjects.
Russian cloisonné evolved into a distinctive national style, particularly in the workshops of the Fabergé firm. Under Carl Fabergé's direction, Russian artisans created richly coloured cloisonné works characterized by vibrant hues and intricate patterns often inspired by traditional Slavic folk designs. Fabergé's cloisonné featured predominantly on small luxury objects like cigarette cases, decorative eggs and presentation boxes for the aristocracy. The Russian imperial style favoured opulent colours, rich purples, deep blues and bright enamels against silver or gilded backgrounds, often incorporating emblems of imperial authority or aristocratic heraldry. Russian cloisonné emphasized skilled craftsmanship in contrast to the Japanese focus on pictorial composition and technical precision.
The Japanese approach to cloisonné during the Meiji period distinguished itself from these other traditions through its extraordinary technical refinement, particularly in achieving seamless colour gradations, perfecting wireless techniques, and developing the mirror-black backgrounds that became a hallmark of premium Japanese work. While Chinese artisans had worked with the technique for centuries longer and European and Russian craftspeople had incorporated it into their luxury traditions, Japanese artists of the Meiji era fundamentally transformed cloisonné from decorative technique to high art through their unparalleled attention to detail, surface quality and pictorial sophistication.
The Export Market and Western Fascination
The Meiji government shrewdly recognized the commercial potential of Japanese decorative arts in Western markets. Cloisonné became a primary vehicle for this cultural and commercial exchange as Japanese cloisonné was showcased at international exhibitions beginning with the 1867 Paris Exposition. Western collectors developed an insatiable appetite for these works, driving demand that encouraged artists to adapt traditional Japanese aesthetics to appeal to Western tastes.
Luxury retailers like Tiffany & Co. and Liberty of London played crucial roles in popularizing Japanese cloisonné in Western markets. Tiffany & Co., under the direction of Louis Comfort Tiffany, not only imported authentic Japanese pieces but also incorporated Japanese cloisonné techniques into their own productions. Tiffany collaborated directly with Japanese workshops to create custom pieces that blended Western forms with Japanese techniques. The company commissioned specialized items like cloisonné clock faces, decorative panels for furniture and ornamental vessels. These pieces often incorporated Art Nouveau elements alongside traditional Japanese motifs, creating a unique fusion aesthetic that appealed to wealthy Western collectors.
Liberty of London, under the guidance of Arthur Lasenby Liberty, became one of the most important European importers of Japanese decorative arts. The store established direct relationships with Japanese workshops, particularly those specializing in cloisonné. Liberty commissioned specific pieces designed to appeal to British tastes, including cloisonné-decorated walking sticks, desk accessories and decorative panels for cabinets. The store's catalogues from the 1880s and 1890s regularly featured Japanese cloisonné pieces, bringing this Japanese technique into the mainstream of British decorative arts.
These retailers didn't merely import Japanese cloisonné, they actively shaped its development by communicating Western preferences back to Japanese workshops. This commercial exchange led to the creation of specific export styles that combined Japanese technical excellence with motifs and forms better suited to Western interiors and tastes. Items like large floor-standing vases, decorative plaques and table screens were rarely used in traditional Japanese interiors but were produced specifically to appeal to Western collectors who sought to display these exotic treasures in their homes.
A partial plique-à-jour bowl
By Gonda Hirosuke
Legacy and Recognition
Today, Meiji cloisonné represents one of the pinnacles of Japanese decorative arts. The technical innovations of this period, especially the development of mirror black surfaces, remain unmatched. Major museums worldwide feature Meiji cloisonné prominently in their collections and works by master artists like Namikawa Yasuyuki and Namikawa Sōsuke command extraordinary prices at auction.
The transformation of cloisonné during the Meiji period demonstrates how artistic innovation can flourish during periods of cultural exchange and commercial opportunity. Japanese artisans not only mastered an imported technique but elevated it to unprecedented heights through technical ingenuity and aesthetic refinement.
A cloisonné enamel dish
Attributed to Goto Seizaburo