Antique Japanese Cloisonné Enamel Vase with Iris’ and White Herons Antique Japanese Cloisonné Enamel Vase with Iris’ and White Herons

Japanese Antique Cloisonné Enamel Vase

Antique Japanese Cloisonné Enamel Vase with Iris’ and White Herons



Descriptive qualities& condition:

Dimensions: 12-0"h

This is an extremely, fine and beautiful tall enamel Japanese Cloisonné Vase. It depicts Iris and foliage with two intertwining white herons in a wonderful color combination. As the foundation, a translucent gleaming dark blue enamel was used. The flowers are variegated purple with long slender yellow centers and long leaves and stems. It has a brass rim top and bottom finishing off the tapered form with a slightly flared neck. The vase is a solid color and un-ornamented on the backside, with the decoration, (Iris’ and Herons), on the front. The piece is unsigned but according to the Catalogue entitled: Japanese Cloiosonne' Enamels by Gary Yoshino it appears to be in the style of Hayashi Kodenji, Meiji era. Original stand included.

Vintage Condition: Excellent with the inlay completely intact. “As is”, and both pieces have retained the original craft/workmanship. Any discoloration, chipping/cracking, surface wear, or structural damage noted. 

NOTE: As a general statement, Japanese enamels, (Cloisonné), are unique and exceptionally beautiful, and there is no shadow of a doubt that modern Japanese enamels, in every way, surpass the older Chinese. There are two very distinct styles in the modern enamels; the Kyoto craftsman preferring to work in the true cloisonné, where the design is laid on in gold or copper wire in geometrical or decorative motifs and patterns of bewildering fineness. The Tokyo enameler works on different lines and overall format and produces panels that look like fine paintings on porcelain on monochrome vases, boxes, and other decorative objects, which are considered a triumph of workmanship. Around 1889 we also see Tokyo artisans producing Cloisonné without wires which received prizes in Tokyo, Paris, and Chicago. And, finally, there is the Nagoya workshops, although probably producing more wares than those in the other two cities were often unsigned or at most signed using an ink brush.