Knowledge · Techniques 技法
How the works were made, in the words of the sources. Kanji and romanisation are given only where a source supplies them.
Cloisonné
有線七宝 · yūsen shippō
Enamel laid into cells formed by metal wires fixed to a metal body, then fired and polished. Owari cloisonné is known for silver-wire yūsen work, and Japanese Wikipedia traces the Owari revival to Kaji Tsunekichi in the Tenpō era (1830–44).
Cloisonné
無線七宝 · musen shippō
The wires are removed before the final firing, so the enamels meet without outlines and can blend in soft gradations. Japanese Wikipedia credits Namikawa Sōsuke with the invention in 1879; the English article notes Gottfried Wagener’s part.
Source: [濤川惣助] [Namikawa Sōsuke]
Cloisonné
shōsen
Most of the wire is removed, leaving only fine details outlined, a technique associated with Namikawa Sōsuke’s workshop.
Source: [Namikawa Sōsuke]
Cloisonné
盛上七宝 · moriage shippō
Layers of enamel are built up to give a three-dimensional effect, often for flowers. Developed by Kawade Shibatarō and Hattori Tadasaburō.
Source: [Kawade Shibatarō]
Cloisonné
省胎七宝 · shōtai shippō
Enamel is fired in wire cells on a copper body, which is then dissolved with acid while the enamel is protected by lacquer, leaving translucent enamel that lets light through. It came to Japan after Ando Jubei bought a French example at Paris in 1900, which Kawade analysed.
Source: [Kawade Shibatarō] [Plique-à-jour]
Lacquer
蒔絵 · maki-e
A lacquer technique, originating in the Heian period, in which designs are made by sprinkling metal or colour powder onto soft lacquer.
Source: [JAANUS: makie 蒔絵]
Lacquer
urushi-e
Shibata Zeshin devised a method of painting in lacquer on paper sized with dōsa (alum and animal glue) so that scrolls could be rolled without flaking.
Source: [Shibata Zeshin]
Studio porcelain
高浮彫 · takaukibori
Modelled birds, animals, crabs and plants applied in very high relief to ceramic vessels: the distinctive feature of Makuzu Kōzan’s early Yokohama work.
Source: [Makuzu Kōzan]
Satsuma
金襴手 · kinrande
Gold added to polychrome overglaze decoration. Japanese Wikipedia describes Kinkōzan making iro-e kinrande in the Satsuma manner and refining it for export as Kyo-Satsuma.
Source: [JAANUS: kinrande 金襴手] [錦光山宗兵衛]
Satsuma
—
Yabu Meizan’s designs were engraved on copper plates and printed on paper, and the prints were used to transfer the underdrawing onto each blank before it was painted in enamels and gold. (Neither kanji nor romanisation is given in our sources.)
Source: [Yabu Meizan] [YabuMeizan.com]
Metalwork
布目象嵌 · nunome zōgan
The surface of a hard metal such as iron is incised in several directions to roughen it, and thin sheets of gold or silver are then inlaid. Komai Otojirō’s workshop made it famous abroad as “Komai works”.
Source: [Damascene]
Metalwork
蝋型鋳造 · rōgata chūzō
A casting method in which a wax model is invested in a mould and melted out before metal is poured. Suzuki Chōkichi trained for five years in wax-model casting.
Source: [JAANUS: rougata 蝋型] [鈴木長吉]
Descriptions record our research and opinion as of 20 October 2026. Works are offered as described. Please see our Terms of Sale.
Each example above is an object whose auction catalogue names the technique; the quoted words are the house’s. Lacquer painting on paper, sprinkled-picture lacquer, copperplate-transfer underdrawing and lost-wax casting have no example yet, because no lot in our database is catalogued in those terms. We would rather leave a gap than illustrate a technique with an object not documented as using it.