Green Cloisonne Dish
A green cloisonne dish brings intricate wirework and vitreous enamel together in decorative chargers and bowls from late nineteenth century Japan.
Green Cloisonne Dish
A green cloisonne dish encompasses large decorative chargers, wall plates, and lidded pedestal bowls created in Japanese workshops. These objects showcase elaborate pictorial subjects ranging from phoenixes and dragons to natural scenes featuring Mount Fuji and bamboo.
The pieces on this page span the Edo and Meiji periods, stretching from the middle decades of the nineteenth century through to nineteen hundred. Collectors encounter substantial charger plates alongside deeper bowls, many bearing signature marks from their makers.
How they were made
Craftsmen built these vessels using copper or brass bases, soldering fine metal wire onto the surface to outline intricate pictorial cells. They then filled these compartments with coloured vitreous enamel before firing and polishing the piece to a smooth finish.
Certain variations incorporate techniques like Totai Shippo, where enamel work is applied over a transparent base or alternative core materials such as wood. The resulting surface balances metallic wire lines with deep layers of green and multicoloured enamel.
Listings feature items dated across the eighteen sixties, seventies, eighties, nineties, and nineteen hundred.
What varies in quality
Quality rests upon the precision of the brass wirework and the depth of the enamel surface. Master craftsmen executed complex subjects like dragons, samurai, and birds with remarkable detail within narrow wire boundaries.
The clarity of the green enamel and the skill involved in firing larger charger plates distinguish superior examples. Signed pieces and those retaining complex pictorial compositions generally demonstrate higher workshop execution.
The Green Cloisonne Dish Glossary
- Cloisonne Enamel
- A technique where metal wires are soldered to a metal body to create compartments for vitreous paste. These cells are then fired and polished flat.
- Charger
- A large ornamental plate designed for display rather than dining use. These items form the majority of large decorative wall and table pieces.
- Totai Shippo
- Wire-based enamel work applied without a solid opaque metal backing, sometimes showing translucent effects. This method creates lighter vessel walls.
- Meiji Period
- The era in Japanese history spanning from eighteen sixty-eight to nineteen twelve. Work from this time shows significant technical refinement.
- Edo Period
- The historical era preceding the Meiji period, running from sixteen hundred and three to eighteen sixty-seven. Early examples on this page date from the final decades of this era.
Green Cloisonne Dish: Frequently Asked Questions
How do I display a large cloisonne charger?
These decorative chargers suit wall mounting using appropriate wire display hangers or placement on sturdy plate stands. Their substantial copper and enamel weight requires secure support.
Positioning them away from direct sunlight preserves the vitreous enamel colours over time. Grouping chargers with bowls creates a balanced display of nineteenth century Japanese metalwork.
What is the difference between Edo and Meiji cloisonne?
Edo period pieces often display heavier copper construction and more restrained palettes. The wirework tends to be robust and functional within traditional decorative schemes.
Meiji period examples frequently exhibit finer wire cells and more ambitious pictorial subjects. Technical innovations during this later era allowed for larger charger diameters and complex shading.
Are these dishes meant for holding food?
These chargers and bowls serve primarily as decorative objects rather than tableware. The vitreous enamel surface and underlying copper or brass construction are suited for visual display.
Using them for serving food can risk scratching the polished enamel or damaging the delicate wire partitions. Gentle dusting maintains the surface finish.
What does a signature indicate on a cloisonne dish?
Signatures on the reverse or base point to the workshop or artist responsible for the creation. These marks help identify the origin and period of the piece.
Unsigned examples remain common, as many high quality nineteenth century chargers left studios without maker ciphers. Quality of wirework and enamel depth matter more than the presence of a signature.