Our featured work of art for the month of May is this exceptional, exhibition-quality Japanese Bronze and multimetal Koro, a superb example of Japanese Meiji-era technical brilliance, symbolism and artistic ambition.
As always with our articles and stories, you can click on any of the featured images to take a closer look.
In this blog, we will look at the techniques, materials, cultural symbolism and mythology behind this statement of late 19th Century craftsmanship, but first..
What is a Koro?
Put simply, a Koro is a Japanese incense burner. Traditionally used in Buddhist rituals, ceremonial settings and opulent interiors, during the reign of Emperor Meiji the humble incense burner evolved into something far more elaborate.
Japanese artists and workshops, under the direction of Meiji, (1868-1912) were tasked with creating works of art to capture the imagination and interest of the rest of the world and so Koro made during this time were rarely modest in design. This piece is no exception.
Executed in patinated Bronze with gilt and mixed-metal decoration, this monumental (90cm in height) incense burner is comprised in three main sections.
Stand and base:
The vessel rests on four, tall, curved legs with Dragon-like Oni heads at the top of each one. The legs appear from the mouth of each mythical beast to give the effect of four elongated gruesome tongues reaching down to the base.
Within this open framework stands a serene Bronze figure of Kannon (the Bodhisattva of compassion), her robes blowing softly in the wind. She makes the circle “Mudra” with both her hands symbolising great wisdom. In her own right, this majestic figure is an impressive and beautifully-rendered Okimono.
At the foot of the Koro sits an oval base decorated with archaic-style surface texturing and gilt accents on the feet.
Central vessel:
The bulbous body features high-relief multimetal decoration in Shakudo, Shibuichi and gilt Bronze. A peach-shaped panel on the front depicts a Buddhist Monk with an Oni attendant. The Monk holds a small Shrine in one hand and a string of prayer beads in the other while the dutiful Oni carries the Monk’s Khakkhara staff.
A symbol of the balance between inner peace and external strength, the Monk and the Oni are often seen to represent the taming of chaotic powers by an enlightened wisdom.
To the reverse of the central vessel is a panel of equal skill and rendering depicting a pair of Pheasants among a flowering Peony, (itself a symbol of longevity and unity.)
The sides are flanked by ornate, stylised crashing waves representing divine power and resistance.
Lid and Finial:
The domed cover is decorated with further archaic floral motifs, textured with a geometric stamp and bordered with gilt bands. As with the depiction of Kannon, the finial could also stand alone as an impressive Okimono in its own right. It is in the form of a finely modelled figured of a young child accompanied by a Red-Crowned Crane.
The child points upwards to the sky as if gesturing and asking the Crane why it is not flying. In Japan, the Crane is a symbol of longevity and auspiciousness. Here it is rendered with elegant naturalism, contrasting with the animated posture of the child.
Over all, the Koro combines many different and seemingly un-connected elements successfully into one, very impressive example of Meiji-era metalwork. The overall theme appears to be about the balance between nature and spirituality.
Although unsigned, it has been attributed to the Miyao Company. Miyao was one of the most celebrated metalworking studios of the Meiji-era founded by Miyao Eisuke in Yokohama before relocating to Tokyo in 1890. The company was famous for producing high quality, decorative Bronze sculptures and mixed-metal masterpieces with their works of art exhibited at many of the major international expositions. You can see a selection of signed works from the Miyao Company from our collection of Japanese metalwork, by Clicking Here.
A Koro such as this, displaying the enviable and unique skill that the Japanese possessed at the time, would have very likely have been made for display at one of these expositions. Smaller, similar examples would have been available for general purchase, but larger ones like this often found homes in large estates or museums.
We hope you found this article interesting. You can find 150 blog posts and stories inspired by our collection of Chinese and Japanese Fine Art and Antiques by Clicking Here.