Collecting Japanese bronze in demand again

Press, 23 September 1980, Page 12

Collecting Japanese bronze in demand again

with

Myrtle Duff

Publicity given to a large Japanese bronze which recently appeared in the city has given fresh impetus to the growing popularity of this type of collector’s item.

This whole category of objects was really the result of ■ a phenomenon rather too familiar to us today — large scale redundancy and the inevitable “restructuring” of the lives of the people. It occurred in Japan towards the end of the 19th century at the beginning of the Meiji era. For two and one half centuries the Japanese people had lived in seclusion under a unique form of feudal system headed by the Tokugawa Shoguns. The Shogun was the military leader W’ho shared power with the Emperor but during this time had become the real ruler of the country, the Emperor being regarded more as a high priest than a Head of State. Japan prospered under this system, which provided a special place for everyone and a society in which everybody knew his place, his obligations, and his rights. However, in spite of the rigid class system there were no real barriers to prevent any person who could amass sufficient wealth from changing his status. This eventually led to an over-abundance of nonproductive people, resulting in the bankruptcy and breakdown in power of the Shogunate in which enabled the American Admiral Perry to force an entry into the country in 1853. Some years later a Trade Treaty was signed with the United States and the end

of the long isolation had begun. Contact with the foreigners was not popular, and the cry was raised to “restore the Emperor and. expel the Barbarian.’’ The

movement rapidly gained support. In 1868 it was successful in ending the long dual role of the Shogun and Emperor in which the Shogun had for so long held sway. His role was abolished and the Emperor installed in Tokyo as official Head of State. Supporters of the new regime believed it would restore the golden age of isolation, but, history proves that the reverse was the case. Not even Japan can put the clock back. Very soon sweeping reforms were to bring the country _ more and more into line with the Western world. The particular reform which led to the manufacture of the bronzes so popular today was the Imperial Edict of Haitorei in 1876 which forbade the custom of wearing swords. Almost overnight thousands of skilled craftsmen who had previously been employed making the exquisite sword fittings for the Samurai retainers of the feudal lords, became redundant. Lacking the union and public support available to protesting redundant workers today, the bronze. workers turned to the eager market of the Western world. They used their skill to produce vases, ornaments, incense burners and other objects decorated in the style popular in the Vic-

torian era in England and the United States. Art of a typ e s 0 foreign to Japanese taste was not highly regarded in Japan at the time, but proved immensely popular in Victorian society elsewhere. Some of the earlier examples retain the more austere Japanese style, and I must admit that these appeal more to me. I must add. though, that they also command the highest prices in the market places. However, the current trend to admire and collect all forms of Victoriana has created a greater demand for the more heavily decorated type. Today, even the Japanese have discovered a liking for these, and are among the keenest collectors. I have not yet made a thorough investigation into the supply of these bronze articles available in local shops, but I feel sure a keen collector could locate some. The most plentiful are the vases, but some of the most striking are the ornaments in the form of animals. If you are not familiar with this type of collecting and feel you might be interested you may be able to learn a little from a special exhibition at Canterbury Museum. In response to an increasing number of inquiries from the public, Mr Ralph Riccalton, the museum’s chief preparator, has set up a display from the museum’s own collection just inside the door of the Hall of Human History right at the end of the corridor which faces you on entering the museum. Here you may see an extra large vase of the type recently publicised; five other vases -and two incense burners in the form of animals. Illustrated is a typical vase approximately 35 centimetres high from a private collection.