Final Paper: Guided Museum Tour

Jade Lee

Objects as History Fall 2017: Section J

Megan Elevado

December 9, 2017
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The Metropolitan Museum of Art envelopes a fulfilling amount of history and culture,

cultivating in one spot. Currently, the Asian art exhibit holds an extensive variety of Japanese

artwork, particularly from the Edo period of 1603-1868, that reflects a major cultural shift. This

was incredibly intriguing as earlier artwork was additionally on show, making the progression of

stylization clearly distinct. The three chosen artifacts from the Edo period was a family ash

container (24.11.5), a scroll box (2015.300.294a,b), and a ceramic coffee pot (79.2.176a, b). The

progression towards modernism seen in the designs of the selected artworks exhibits an

evolution of artistry, stylization, and overall societal practices that are also interesting in

comparison to examples from today. Specific compositional elements exemplify a shift towards

contemporary mass production, increasing sophistication of craftsmanship, and newfound

technology within the Japanese culture.

When first stepping into the exhibit, nothing about the artwork appears outstandingly

surprising or too contemporary for the time period. One must take a deeper look into the

Japanese history, especially their integration of other Asian cultures, in order to understand how

much innovation lays inside the seemingly typical Japanese characteristics. “The art of the Edo

period speaks to viewers in the West in a direct and powerful way, not only for its inherent

qualities but because so much of its aesthetic concurs with what we consider modern” (17).1

While all of the objects have traditional Japanese shapes, modern design elements such as flat

gold paint, wood-blocking and lacquer decoration exemplify artistic development towards

diverse, contemporary, and the progression in Japanese culture.1 Post-wartime, Japan desired to

1 Art:Department of Asian. "Art of the Edo Period (1615–1868) | Essay | Heilbrunn Timeline of Art History | The
Metropolitan Museum of Art." The Met’s Heilbrunn Timeline of Art History. October 2003. Accessed November 06,
2017. https://www.metmuseum.org/toah/hd/edop/hd_edop.htm.
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become an agrarian country to avoid conflict so the people were primarily isolated and lived

simple farm lives with their families. The communities’ limitations to the outside world caused

them to produce all of their own goods and marketing. They did not have a central government

and relied on royal families for instruction and discipline. Although this seemed to be helpful in

attempts to resolve peace, other problems began to develop.

The lack of stabilization or organization from a government made it difficult for families

to maintain a steady income and maintain any financial consistency. Eventually, the unification

of regions, such as the Shogun and Tokugawa, started the development of a productive economy.

This integration also began the transportation of goods throughout the community and improved

societal efficiency as a whole. Although Japan was still cut off from the outside world, this

jumpstart led them to revive traditions of the past and focus on refining their society. This

renaissance, “characterized by bold, sometimes brash expression, experimentation with the new

or exotic, and a playful outlook on life in general,” encouraged artistic literacy and new forms of

cultural unification (17). 2 Many “new styles of artistic expression appeared throughout Japan, in

elaborate screen paintings and scrolls, dramatic sculpture and armor, elegant ceramics and

lacquers, lively textiles and color woodblock prints”(12).3

As time progressed, so did the structure of the social hierarchy. Small cities began to

develop along with urbanization which made the economy from “booming economy that led to

an increased demand for luxury goods”.4 The samurai remained at the top but even this class

2 Art:Department of Asian. "Art of the Edo Period (1615–1868) | Essay | Heilbrunn Timeline of Art History | The
Metropolitan Museum of Art." The Met’s Heilbrunn Timeline of Art History. October 2003. Accessed November 06,
2017. https://www.metmuseum.org/toah/hd/edop/hd_edop.htm.
3 Singer, Robert T., ed. Edo: Art in Japan, 1615–1868. Washington: D.C.: National Gallery of Art, 1998.
4 "Artists and Patrons of the Edo Period (1615–1868) in Japan." Asian Art Museum | Education.
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depended on rice stipends in order to survive. With the newfound peace, some samurais found

themselves bored without war and began to spend more money on the arts for entertainment.

This “creativity came not from [Japan’s] leaders,” but, instead, the lower class as “they were free

to reap the economic and social benefits of this prosperous age.” 5 The farmers and merchants

greatly outnumbered the elite and therefore became more influential in the arts. “Depictions of

places of pleasure reached a peak during the Edo period,” and considering this part of the

community lived primarily on farms, it is no surprise that “local areas of natural beauty,” were

heavily parts of the artists’ designs (21).6 This influence is incredibly prominent throughout the

Asian Art exhibit particularly through florals and even the materials used to create the artworks.

The first object observed was an ash container (Takigara-ire) for Incense Ceremony, with

a Family Crest and made from pine, bamboo, and plum. This piece came from the 18th century

and exemplifies one the most fashionable types of artwork during that era: lacquerware. Lacquer

was always a popular form of artwork in East Asia as it is similar to plastic, making objects more

durable and lasting. Although, this material comes from a toxic sap and could be time consuming

in order to create the desired outcome. “Japanese lacquer ware technique is unique in its use of

gold and silver flakes sprinkled onto the lacquer to create a glittering effect and pictorial designs”

so this meant that lacquerware items typically important objects since it was special to produce

(63).5 The Japanese followed Confucianism as their religious practice which heavily “stresses

correct behavior and position in society and government”(16).6 Confucianism also emphasized

“a person’s correct placement in the family” legacy as a very important characteristic in their

5Department of Asian Art. “Art of the Edo Period (1615–1868).” In Heilbrunn Timeline of Art History. New York:
The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/edop/hd_edop.htm (October 2003)
6 Benskin, Elizabeth. The Arts of Japan: A Teachers Guide. Washington, DC: Smithsonian Institution, 2005.
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culture so, it is no wonder the Japanese would use this esteemed technique to hold the ashes of a

loved one (16).7 This specific box was meant for a funeral incense ceremony and even has the

family crest printed on the side in gold leaf paint.

The second object was a Scroll Box (Jikumono-bako) with Paulownia and Autumn

Grasses designs. Like the ash container, this scroll box is also lacquerware and has gold

imprinting. The use of “gold [has] been employed in various ways to decorate Japanese

paintings” because it gave a sense of elegance and wealth (55).7 This particular scroll box was

owned by the warlord, Toyotomi Hideyoshi, and shows one of the latest trends of Edo Period:

gold leaf powder surface-painting instead of carved indents. This technique was much faster, less

expensive, and did not require underdrawings. With this new technique, fine-looking artwork

became more popular and readily available for the middle class.

The third object also originated from the 17th century and is a coffee pot made of white

porcelain (Arita ware), decorated with blue under the glaze and mounted with silver. Porcelain

was already predominant in Asian artwork, but this particular style with a white background and

blue glaze was a more modern technique for the Japanese. Struggling to create durable ceramics

while maintaining delicate designs, the Japanese began to experiment with different pottery

styles, particularly from Korea. Many Korean potters had traveled to Japan during invasions

from the previous wartime and “created opportunities for the exchange of artistic styles and

techniques” (18). 7 The Koreans, “already master[ing] the production of porcelain,” introduced a

new technique for ceramics, using a special version of a kiln; the process was simple,

inexpensive, and allowed precise designs to be maintained during firings (52).7

7 Benskin, Elizabeth. The Arts of Japan: A Teachers Guide. Washington, DC: Smithsonian Institution, 2005.
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The newest artisan techniques allowed the middle class to have greater access to fine-

looking artwork without having to spend an excessive amount of money. Alongside this positive,

the upperclass put more money towards merchants and artisans in order to increase their

collections and fulfill any boredoms.8 These factors are led to increased trading within the

accessible community. The “mechanisms of artistic production and display and discussion of

styles” (171) led to cycle of mass production is still present today and can be seen through the

modern mall or even grocery stores.9 Once goods become less expensive to produce and more

readily available, larger spaces must be created in order to sell and expand the products.

Overall, all three of these objects are layered with significant history regarding Japan’s

Edo Period. The launch towards industrialization and modern production are held within the

design and structure. Japan’s “emergence of a new group of sophisticated art lovers, the

townspeople,” completely defined the Edo Period as “the most prolific period in Japanese art

history, not only in volume of works produced but in its diversity of styles.”10 By reviving

traditional pieces, such as the incense box and coffee pot. the Japanese were able to change

social structure by making the middle class more valuable to the community. The lack of conflict

allowed art to flourish and create new beginnings for the isolated society that are still present to

this day.

8 Mason, Penelope. History of Japanese Art. Upper Saddle River, N.J.: Pearson Prentice Hall, 2004.
9 Screech, Timon. 2017. Obtaining images: art, production and display in Edo Japan.
10"Artists and Patrons of the Edo Period (1615–1868) in Japan." Asian Art Museum | Education. Accessed
November 06, 2017. http://education.asianart.org/explore-resources/background-information/artists-and-patrons-
edo-period-1615-1868.
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Object #1

Name: 松⽵梅紋散蒔絵炷空⼊
ash container (Takigara-ire) for Incense Ceremony, with a Family Crest and made from pine,
bamboo, and plum
Date: 18th century
Materials: Lacquered wood with gold, silver togidashimaki-e, hiramaki-e, and cutout gold leaf
Culture: Japan
Location: Japan
Museum: The Metropolitan Museum of Art
Accession Number: 24.110.5
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Object #2

Name: 桐秋草蒔絵軸物箱
Scroll Box (Jikumono-bako) with Paulownia and Autumn Grasses
Materials: Lacquered wood with gold hiramaki-e and e-nashiji (“pear-skin picture”)
Date: 17th century
Culture: Japan
Location: Japan
Museum: The Metropolitan Museum of Art, NYC
Accession Number: 2015.300.294a, b
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Object #3

Name: coffee pot

Bibliography

Art: Department of Asian. "Art of the Edo Period (1615–1868) | Essay | Heilbrunn Timeline of

Art History | The Metropolitan Museum of Art." The Met’s Heilbrunn Timeline of Art

History. October 2003. Accessed November 06, 2017. https://www.metmuseum.org/toah/

hd/edop/hd_edop.htm.

"Artists and Patrons of the Edo Period (1615–1868) in Japan." Asian Art Museum | Education.

Accessed November 06, 2017. http://education.asianart.org/explore-resources/

background-information/artists-and-patrons-edo-period-1615-1868.

Benskin, Elizabeth. The Arts of Japan: A Teachers Guide. Washington, DC: Smithsonian

Institution, 2005.

Department of Asian Art. “Art of the Edo Period (1615–1868).” In Heilbrunn Timeline of Art

History. New York: The Metropolitan Museum of Art, 2000–. http://

www.metmuseum.org/toah/hd/edop/hd_edop.htm (October 2003)

Mason, Penelope. History of Japanese Art. Upper Saddle River, N.J.: Pearson Prentice Hall,

2004.

Screech, Timon. 2017. Obtaining images: art, production and display in Edo Japan.

Singer, Robert T., ed. Edo: Art in Japan, 1615–1868. Washington: D.C.: National Gallery of Art,

1998.