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HOME :
Asian Art :
Art of Japan : Japanese hot-water kettle (yuto)
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Japanese hot-water kettle (yuto) - CB.004
Origin: Japan
Circa: 19
th
Century AD
Dimensions:
17.3" (43.9cm) high
x 17" (43.2cm) wide
Style: Bunsei period (1818-1830)
Medium: Bronze, cloisonné
Condition: Fine
Location: Great Britain
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| Description |
Cast bronze bulbous zoomorphic hot water
kettle, with pivoting carrying handle, sporting an
incised and cloisonné decoration.
Yuto is a spouted vessel traditionally used during
banquets for serving broth, and also occasionally
sake, hot or cold water.
In this case the pouring spout is shaped as the
neck and head of a Phoenix, with two triangular
short but richly ornamented wings springing on
either side of the kettle. The body of the kettle is
decorated by the continuous pattern of an incised
curvilinear motif, which could possibly be
interpreted as the plumes on the legendary bird’s
body; this pattern is interrupted by three registers
decorated in vibrant cloisonné enameling: the
lowest register is decorated by a vegetal motif
composed by the sinuous lines of a vine with
flowers and leafs against a dark blue and white
ground. The middle register, which is also the
widest, is decorated by a garland of large open
flowers whereas the upper one alternates a blue
and red geometric motif against a yellow
background that incorporates both angular and
cursive elements, complimented by green and
turquoise daisies.
The lid is also decorated by a band of in a
cloisonné geometric pattern which combines a
series of triangles and circles and is equally
repeated on the outer part of the handle. Finial in
the form of a rampant lion dragon, with raised
forepaws.
Solid-cast handle of quadrangular section,
cloisonné decorated on three sides. On one of
the attachment points, round demonic head with
small pointed ears, bulbous nose, central short
horn, snarling open mouth with the upper canine
teeth in view and a triangular short beard in the
middle of the chin. On the opposite point of
attachment corresponds a long curling tail, thus
transforming the handle into the imaginary
elongated body of this demonic creature.
The globular kettle is supported on three short
legs, each of them decorated by an incised Greek
meander motif.
The bottom of the vessel is engraved with the
seal of the Bunsei Period (1818-1830).
Enamelling is a meticulous and extremely time-
consuming craft. Enamels are a form of glass
coloured with metallic oxides and applied as a
paste, usually to a metallic body, generally of
copper, although other metals may be also used.
When the object is fired in a kiln to an appropriate
temperature, the enamels melt and fuse to the
body. The object is then cooled and its surface is
polished to a high-gloss finish.
There are various enamelling techniques.
The simplest is champlevé, where a pattern or
design is carved out of a metallic body, with the
enamel paste then applied into the resulting
hollow, the piece being in consequence fired and
finally polished.
In cloisonné enamelling, fine wires are used to
delineate the areas destined for decoration
(cloisons in French, hence cloisonné) into which
the enamel paste is then applied before the
object is fired and finally polished. These fine
wires serve a dual function: they can be an
integral part of the decoration while at the same
time preventing the molten enamels from flowing
into adjoining areas during firing.
Cloisonné enamels in Japan had traditionally
been used only as small areas of decoration
mostly on sword fittings.
Around 1833 a former samurai, Kaji Tsunekichi of
Nagoya in the Owari Province (modern Aichi
Prefecture), like many other samurai of that time,
was forced to find ways to supplement his
meagre official income. It is believed that Kaji
obtained a piece of Chinese cloisonné enamel
and took it apart, examined how it was made and
eventually produced himself a small cloisonné
enamel dish.
By the late 1850s he had taken on pupils and was
appointed official maker to the Daimyo (local
feudal lord) of the Owari province. There followed
a huge increase in the production of cloisonné
enamel ware mostly as a natural consequence to
the ‘reopening’ to the rest of the world of Japan
in the 1850’s and the ensuing western obsession
for all forms of Japanese art.
Nagoya and the surrounding area became
renowned for innovations in the production of
highly decorated cloisonné objects. Kyoto and
Tokyo soon followed as major centres of
production and cloisonné enamels became very
desirable objects in the West.
From these tentative beginnings in the 1830s
Nagoya, the art of cloisonné enamelling
expanded as to become one of Japan’s most
successful forms of manufacture and export by
the end of the 19th century
In ancient Greek mythology, a phoenix is a long-
lived bird that is cyclically regenerated or reborn.
Associated with the sun, a phoenix obtains new
life by arising from the ashes of its predecessor.
According to some sources, the legendary bird
dies in a show of flames and combustion.
Phoenix is considered as the magnificent king of
the winged kingdom, synonymous with good
fortune, opportunity, and luck. It also conveys
strength and resilience in the symbolic rising from
its own ashes and the subsequent soaring to
greater heights. On its own, the Phoenix is a Yang
symbol and is associated with the energy of fire
and the four winds. When though combined with
the Dragon, the phoenix becomes then a Yin
symbol.
The Bunsei period witnessed an urban cultural
scene unmatched for a good number of
centuries. The austere reforms and sumptuary
laws which had been passed and approved in the
late 18th century were soon followed by a period
of extravagant luxury led by the 11th Tokugawa
shogun Ienari and his administration, known for
its financial laxity and corruption. The lavish
habits of the ruling class quickly spread to the
populace and further invigorated an urban culture
dominated by the flamboyant, pleasure-seeking
merchant class.
- (CB.004)
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