Page:EB1911 - Volume 15.djvu/200

ART] brush instead of using it as a common cutting tool. They succeeded admirably. In the kata-kiri-bori every line has its proper value in the pictorial design, and strength and directness become cardinal elements in the strokes of the burin just as they do in the brushwork of the picture-painter. The same fundamental rule applied, too, whether the field of the decoration was silk, paper or metal. The artist’s tool, be it brush or burin, must perform its task by one effort. There must be no appearance of subsequent deepening, or extending, or re-cutting or finishing. Kata-kiri-bori by a great expert is a delight. One is lost in astonishment at the nervous yet perfectly regulated force and the unerring fidelity of every trace of the chisel. Another variety of carving much affected by artists of the 17th century, and now largely used, is called shishi-ai-bori or niku-ai-bori. In this style the surface of the design is not raised above the general plane of the field, but an effect of projection is obtained either by recessing the whole space immediately surrounding the design, or by enclosing the latter in a scarped frame. Yet another and very favourite method, giving beautiful results, is to model the design on both faces of the metal so as to give a sculpture in the round. The fashion is always accompanied by chiselling à jour (sukashi-bori), so that the sculptured portions stand out in their entirety.

Inlaying with gold or silver was among the early forms of decoration in Japan. The skill developed in modern times is at least equal to anything which the past can show, and the results produced are much more imposing. There are two principal kinds of inlaying: the first called hon-zōgan (true

inlaying), the second nunome-zōgan (linen-mesh inlaying). As to the former, the Japanese method does not differ from that seen in the beautiful iron censers and vases inlaid with gold which the Chinese produced from the Süen-tē era (1426–1436). In the surface of the metal the workman cuts grooves wider at the base than at the top, and then hammers into them gold or silver wire. Such a process presents no remarkable features, except that it has been carried by the Japanese to an extraordinary degree of elaborateness. The nunome-zōgan is more interesting. Suppose, for example, that the artist desires to produce an inlaid diaper. His first business is to chisel the surface in lines forming the basic pattern of the design. Thus, for a diamond-petal diaper the chisel is carried across the face of the metal horizontally, tracing a number of parallel bands divided at fixed intervals by ribs which are obtained by merely straightening the chisel and striking it a heavy blow. The same process is then repeated in another direction, so that the new bands cross the old at an angle adapted to the nature of the design. Several independent chisellings may be necessary before the lines of the diaper emerge clearly, but throughout the whole operation no measurement of any kind is taken, the artist being guided entirely by his hand and eye. The metal is then heated, not to redness, but sufficiently to develop a certain degree of softness, and the workman, taking a very thin sheet of gold (or silver), hammers portions of it into the salient points of the design. In ordinary cases this is the sixth process. The seventh is to hammer gold into the outlines of the diaper; the eighth, to hammer it into the pattern filling the spaces between the lines, and the ninth and tenth to complete the details. Of course the more intricate the design the more numerous the processes. It is scarcely possible to imagine a higher effort of hand and eye than this nunome-zōgan displays, for while intricacy and elaborateness are carried to the very extreme, absolute mechanical accuracy is obtained. Sometimes in the same design we see gold of three different hues, obtained by varying the alloy. A third kind of inlaying, peculiar to Japan, is sumi-zōgan (ink-inlaying), so called because the inlaid design gives the impression of having been painted with Indian ink beneath the transparent surface of the metal. The difference between this process and ordinary inlaying is that for sumi-zōgan the design to be inlaid is fully chiselled out of an independent block of metal with sides sloping so as to be broader at the base than at the top. The object which is to receive the decoration is then channelled in dimensions corresponding to those of the design block, and the latter having been fixed in the channels, the surface is ground and polished until an intimate union is obtained between the inlaid design and the metal forming its field. Very beautiful effects are thus produced, for the design seems to have grown up to the surface of the metal field rather than to have been planted in it. Shibuichi inlaid with shakudo used to be the commonest combination of metals in this class of decoration, and the objects usually depicted were bamboos, crows, wild-fowl under the moon, peony sprays and so forth.

A variety of decoration much practised by early experts, and carried to a high degree of excellence in modern times, is mokume-ji (wood-grained ground). The process in this case is to take a thin plate of metal and beat it into another plate of similar metal, so that the two, though welded together,

retain their separate forms. The mass, while still hot, is coated with hena-tsuchi (a kind of marl) and rolled in straw ash, in which state it is roasted over a charcoal fire raised to glowing heat with the bellows. The clay having been removed, another plate of the same metal is beaten in, and the same process is repeated. This is done several times, the number depending on the quality of graining that the expert desires to produce. The manifold plate is then heavily punched from one side, so that the opposite face protrudes in broken blisters, which are then hammered down until each becomes a centre of wave propagation. In fine work the apex of the blister is ground off before the final hammering. Iron was the metal used exclusively for work of this kind down to the 16th century, but various metals began thenceforth to be combined. Perhaps the choicest variety is gold graining in a shakudo field. By repeated hammering and polishing the expert obtains such control of the wood-grain pattern that its sinuosities and eddies seem to have developed symmetry without losing anything of their fantastic grace. There are other methods of producing mokume-ji.

It has been frequently asserted by Western critics that the year (1876) which witnessed the abolition of sword-wearing in Japan, witnessed also the end of her artistic metal-work. That is a great mistake. The art has merely developed new phases in modern times. Not only are

its masters as skilled now as they were in the days of the Gotō, the Nara, the Yokoya and the Yanagawa celebrities, but also their productions must be called greater in many respects and more interesting than those of their renowned predecessors. They no longer devote themselves to the manufacture of sword ornaments, but work rather at vases, censers, statuettes, plaques, boxes and other objects of a serviceable or ornamental nature. All the processes described above are practised by them with full success, and they have added others quite as remarkable.

Of these, one of the most interesting is called kiribame (insertion). The decorative design having been completely chiselled in the round, is then fixed in a field of a different metal, in which a design of exactly similar outline has been cut out. The result is that the picture has no blank reverse. For example, on the surface of a shibuichi box-lid we see the backs of a flock of geese chiselled in silver, and when the lid is opened, their breasts and the under-sides of their pinions appear. The difficulty of such work is plain. Microscopic accuracy has to be attained in cutting out the space for the insertion of the design, and while the latter must be soldered firmly in its place, not the slightest trace of solder or the least sign of junction must be discernible between the metal of the inserted picture and that of the field in which it is inserted. Suzuki Gensuke is the inventor of this method. He belongs to a class of experts called uchimono-shi (hammerers) who perform preparatory work for glyptic artists in metal. The skill of these men is often wonderful. Using the hammer only, some of them can beat out an intricate shape as truly and delicately as a sculptor could carve it with his chisels. Ōhori Masatoshi, an uchimono-shi of Aizu (d. 1897), made a silver cake-box in the form of a sixteen-petalled chrysanthemum. The shapes of the body and lid corresponded so intimately that, whereas the lid could be slipped on easily and smoothly without any attempt to adjust its curves to those of the body, it always fitted so closely that the box could be lifted by grasping the lid only. Another feat of his was to apply a lining of silver to a shakudo box by shaping and hammering only, the fit being so perfect that the lining clung like paper to every part of the box. Suzuki Gensuke and Hirata Sōkō are scarcely less expert. The latter once exhibited in Tōkyō a silver game-cock with soft plumage and surface modelling of the most delicate character. It had been made by means of the hammer only. Suzuki’s kiribame process is not to be confounded with the kiribame-zōgan (inserted inlaying) of Tōyoda Kokō, also a modern artist. The gist of the latter method is that a design chiselled à jour has its outlines veneered with other metal which serves to emphasize them. Thus, having pierced a spray of flowers in a thin sheet of shibuichi, the artist fits a slender rim of gold, silver or shakudo to the petals, leaves and stalks, so that an effect is produced of transparent blossoms outlined in gold, silver or purple. Another modern achievement—also due to Suzuki Gensuke—is maze-gane (mixed metals). It is a singular conception, and the results obtained depend largely on chance. Shibuichi and shakudo are melted separately, and when they have cooled just enough not to mingle too intimately, they are cast into a bar which is subsequently beaten flat. The plate thus obtained shows accidental clouding, or massing of dark tones, and these patches are taken as the basis of a pictorial design to which final character is given by inlaying with gold and silver, and by kat&#257;-kiri sculpture. Such pictures partake largely of the impressionist character, but they attain much beauty in the hands of the Japanese artist with his extensive répertoire of suggestive symbols. A process resembling maze-gane, but less fortuitous, is shibuichi-dōshi (combined shibuichi), which involves beating together two kinds of shibuichi and then adding a third variety, after which the details of the picture are worked in as in the case of maze-gane. The charm of these methods is that certain parts of the decorative design seem to float, not on the surface of the metal, but actually within it, an admirable effect of depth and atmosphere being thus produced. Mention must also be made of an extraordinarily elaborate and troublesome process invented by Kajima Ippu, a great artist of the present day. It is called togi-dashi-zōgan (ground-out inlaying). In this exquisite and