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Vase with sparrows and bamboo
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Details
- Associated place
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Asia › Japan › Honshū › Aichi prefecture › Nagoya (Andō Company) (place of creation)
- Date
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c. 1900
Meiji Period (1868 - 1912)
- Artist/maker
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attributed to Hayashi Kodenji (1831 - 1915) (enameller)Andō Company (established 1880)
- Material and technique
- metal, inlaid with silver and gold wire cloisonné enamel
- Dimensions
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25.2 cm (height)
16 cm (diameter)
- Material index
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processed material › metal › gold,
- Technique index
- Object type index
- No. of items
- 1
- Credit line
- Purchased with the assistance of the Story Fund, 1987.
- Accession no.
- EA1987.12
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Further reading
Impey, Oliver, and Joyce Seaman, Japanese Decorative Arts of the Meiji Period 1868-1912, Ashmolean Handbooks (Oxford: Ashmolean Museum, 2005), no. 39 on p. 82, p. 4, illus. pp. 82-83
Impey, Oliver, ‘Reflections upon the Arts and Crafts of Meiji Period Japan with Reference to the Collection of the Ashmolean Museum’, Oriental Art, 42/3, (Autumn 1996), p. 15, illus. p. 14 fig. 11
Glossary
cloisonné
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cloisonné
Decorative technique in which wires are attached to a metal body and coloured enamels are applied between the wires.
Location
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Lower ground floor | Room 1 | Exploring the Past
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Lower ground floor | Room 1 | Exploring the Past
Objects are sometimes moved to a different location. Our object location data is usually updated on a monthly basis. Contact the Jameel Study Centre if you are planning to visit the museum to see a particular object on display, or would like to arrange an appointment to see an object in our reserve collections.
Publications online
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Japanese Decorative Arts of the Meiji Period
Cloisonné enamel vase the body worked in gold wire with sparrows and bamboo on a midnight blue ground, the borders worked in silver wire with flowering kiri (Paulownia) and scrolls.
Although signed by the Andō factory mark, we believe that this vase, for stylistic reasons, was probably actually made by Hayashi Kodenji (1831-1915), a highly skilled enameller who worked at one time or another either on his own (there are pieces signed by him) or with other factories, or with the Andō factory; there are pieces signed by both Andō and Hayashi, but that not being the case here does not invalidate our attribution. A jar and cover of very similar work in gold wire in the Khalili Collection (Impey and Fairly, 1994, vol. 3 no. 62) is signed by Hayashi alongside the Andō mark.
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