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Lot Essay
The Japonism movement in Europe and America encouraged an enormous increase in the export art market from Japan. Ivory craftsmen in flux after the societal changes wrought by the restoration of the emperor in 1867 responded to this demand, adapting traditional techniques to work designed for the West. But those ivory products were never regarded as works of art and the market for ivory entered a downturn. Ironically, this depression inspired serious young ivory artists, such as Asahi Gyokuzan, to reconceive ivory carving as sculptural fine art. Their efforts greatly promoted the modernization of Japanese sculpture in the Meiji period.
The self-taught artist and leading sculptor, Asahi Gyokuzan was born in Asakusa in 1843. Gyokuzan started his career as ivory netsuke artist and he was especially acclaimed for his realistic ivory sculptures of human skull and skeleton. In 1879 he cofounded the Kankokai (Industrial Promotion Association) with several prominent ivory carvers, including Kaneda Kenjiro (1847-?) and Ishikawa Komei (1852-1913). The following year the group changed its name, and by 1886 the society was sponsoring annual sculpture competitions. Gyokuzan, Kenjiro and Komei went on to form the influential Tokyo Chokokai (Tokyo Sculptors Association) in 1887.
It is extremely difficult to fit hard inlays into the cut-out sections on softwood as the edge of the latter easily breaks or chips during the process. Here, the meticulous embedding of materials and the intricate patterns displayed on this suzuribako reveals the refined craftsmanship of Gyokuzan who was especially trained in such challenging techniques.
The self-taught artist and leading sculptor, Asahi Gyokuzan was born in Asakusa in 1843. Gyokuzan started his career as ivory netsuke artist and he was especially acclaimed for his realistic ivory sculptures of human skull and skeleton. In 1879 he cofounded the Kankokai (Industrial Promotion Association) with several prominent ivory carvers, including Kaneda Kenjiro (1847-?) and Ishikawa Komei (1852-1913). The following year the group changed its name, and by 1886 the society was sponsoring annual sculpture competitions. Gyokuzan, Kenjiro and Komei went on to form the influential Tokyo Chokokai (Tokyo Sculptors Association) in 1887.
It is extremely difficult to fit hard inlays into the cut-out sections on softwood as the edge of the latter easily breaks or chips during the process. Here, the meticulous embedding of materials and the intricate patterns displayed on this suzuribako reveals the refined craftsmanship of Gyokuzan who was especially trained in such challenging techniques.