Gems of Japanese Art and Handicraft
Author/Director: George Ashdown Audsley (1838-1925)
Engravers: Spiegel, Sanier, Gaulard and others
Publisher: London, Sampson, Low, Marston
Medium: Outstanding Chromolithography
Page Size: 16" x 11 ½"
Image Size: 12" x 8 ¼"
Condition: Pristine, beautiful chromolithography
Click on the images for a larger view
Series I. - Painting and Colour Printing
From a Kakemono of the Buddhist school of painting. The subject is Kokuzō Bosatsu, the Bodhisattva of Eternal Benevolence. Below, on the left, is Bisjamon the God of Glory, while on the right is Fudo the Fire God.
From a painting on chirimen (a rich silk fabric). Staining has been resorted in addition to brush-work; while, to impart brilliancy to the feathers of the head, neck, and tail, horizontal stitches of bright green silk have been added. Painted by Nishi Mura of Tōkiō.
From a painting on e-ginu prepared with do-sa. By the late artist of the Tosa riu.
From a remarkable colored block print. It is a beautiful example of Japanese graduated printing. The subject is a spirit maiden passing through a spider's web without breaking it.
From a beautiful Ori-hon or folding book. Painted very carefully in transparent colors on fine silk grounds. Gold sparingly introduced.
From paintings of the Kara-ye riu, or Chinese school, in its later methods. Executed in washes on thin picture silk.
Series II. - Embroidery
From a remarkable Fukusa of rich light brown silk, most exquisitely embroidered in every detail. The workmanship is perfect
From a Fukusa of deep blue satin, most beautifully embroidered with a peacock and hen, a rock, and peony flowers. Gold threads are freely used, and gold dust is applied to the ground
From a robe of cream-colored satin, embroidered with floss silk and embellished with flat gilding. Early eighteenth-century work.
Series IV. - Lacquer
From the lid of a box of gold and carved and encrusted lacquer. The box is a most beautiful and elaborate specimen of lacquer work. The incrustations are of stained ivory and mother of pearl. Late eighteenth-century work.
From the lid of a box of gold, black, and encrusted lacquer. The bird is executed in faïense, and the flowers and buds are of mother of pearl. Early nineteenth-century work.
From the lids of 4 boxes of fine old gold and colored lacquer. The central example represents the Ship of Good Fortune, containing all desirable things.
From the lid of a black lacquer box, decorated with a vigorous rendering of the mythical ho-ho executed in gold lacquer.
From a tier of boxes, in the form of a emblematic cock and drum, executed in fine gold and colored lacquer. Eighteenth-century work.
From a small table of fine black lacquer, beautifully decorated with foliage and flowers, executed for the most part, in gold and colored lacquers. Five of the open flowers are white mother of pearl.
From a screen panel of black, gold, and tinted lacquer, on which is encrusted a figure of an historical poetess in carved ivory. The stem and branches of the tree are in raised brown lacquer.
From a screen panel of black, gold, and tinted lacquer. the incrustations are of several materials such as: ivory, wood, mother of pearl and dark green pearl.
Series V. - Encrusted-Work
From a panel of fine black lacquer beautifully encrusted with different materials (stained ivory, mother of pearl, wood, red coral) carved in relief. The whole is a poem of Autumn.
From a panel of tawny-colored lacquer, on which is encrusted a bold design. Materials include: ivory, wood, pearl, mother of pearl. the vase is modelled and lacquered to represent cast iron, decorated with gold and colored lacquer. The square flower pot is a immitaion of bronze and the plant is stained ivory.
From a panel of dark, close-grained wood, encrusted with figures in carved, stained and lacquered ivory. The moon and the birds are mother of pearl, the wicker work objects in the stream are perforated ivory; the large basket, bank and stream are lacquer.
From a panel lacquered to represent old hammered copper. Upon this ground are encrusted a large leaf and seed vessel of the nelumbium, a bird, and a spray of flowers executed in enameled faience.
From a panel of dark wood on which the figure of finely carved and stained ivory is encrusted. The subject is Ben-Kei stealing the great bell of the Temple of Mi-i-dera, and conveying it to the distant Temple of Mi-Yei-Zan-a popular legend.
Series VI. - Metal Work
From a gold jar of repousse work relieved with bold engraving and punching. The interior lining is an alloy of copper and gold plated with silver. Originally in the treasury of the great Buddhist Temple, Nishi-hongwan-ji, at Kioto.
From a bronze figure of Bisjamon, the God of Glory. The statue is stated to have originally belonged to the Buddhist Temple, Nishi-hongwan-ji, at Kioto.
Series VII. - Cloisonné Enamel
From a beautiful bottle of cloisonné enamel, in which a liberal use is made of translucent paste. The bulb is decorated with scroll work and flowers, in opaque pastes, on a ground of translucent enamel, through which is polished and apparently gilded metal glistens with a rick effect.
Three segments from the border of a circular tray of late period cloisonné enamel, illustrating the marvelous accuracy attained by the Japanese enamelers. Reproduced in actual size.
Series VIII. - Modelling and Carving
From a large ivory carving, representing the great bowman Tamétomo and hos sword bearer. With the exception of the top piece of the bow, the whole is carved from a single piece of ivory 12 inches high and about 6 inches in diameter.
From another six carvings in ivory representing different subjects and illustrating the older school of Japanese handicraft.