ARTISTS

Amita Arthur & Bond Asahi Shoten Ashihara Fujii, Yoshitoyo Fukui Hagiya, Katsuhira Hattori, Kintaro Ikeda, Seisuke G. Ikoma Kagawa, Katsuhiro Kawano, Yoshinosuke Komai, Otojiro Komai, Seibei Kuhn & Komor Kumeno, Teitaro Kuroda, Kiichi Kyoto Damascene Mitsui, Yoshio Mitsukoshi Miyamoto Shoko Murakami Toyo Nagata Namikawa, Yasuyuki Nogawa, Noboru Ogurusu Ohayo Okubo Brothers Samurai Shokai Takeda Brothers Uyeda, Kichigoro Yamanaka

Amita Co. artists: Minai, Torahiko Kanamori, Takeshi

Other artists

KURODA, KIICHI 黒田

HISTORY
A bronze dish by Kuroda.

From the Herbert G. Ponting book:

Kuroda is a bronze-inlayer whose only compeer is Jomi. He is a very tall, stern-looking, clean-shaven man, and speaks English fluently with a deep rich voice. Few who have not been to Kyoto know anything about the artistic marvels created under his roof. His masterpieces are never seen in any shop, for, like a few others of his contemporaries, he scorns all dealings with the trade. His output is small, but he finds a market for it all with visiting connoisseurs.

At either Kuroda's or Jomi's one may see triumphs of the bronze-worker's art superior to anything ever produced by Nagatsune, Jinpo, Toshiyoshi, or any of the old-time masters, for though many native crafts are being degraded by appealing to the most vulgar of foreign tastes, that of bronze-working, one of the most beautiful, more than holds its own with the work of previous centuries.

I owe much to Kuroda for what he taught me. Though I had spent a lot of time in the shops of other metal-workers, I had been groping in the dark until I met him. On my third visit to his place he said: "You seem really anxious to learn about my work, so I am going to teach you. Very few foreigners understand anything about bronze, though most of them think they do. To show my finest work to many foreigners is a thankless task, as they cannot see why one piece should be worth four or five times as much as another that looks almost exactly like it. Even an educated Japanese does not know anything about the fine-arts of Japan unless he is a collector."

With that he went to a near-by shelf, and, after much careful deliberation, selected a box from a number of similar-looking ones of various sizes, and, opening it, produced a bag of brocaded silk, from which he drew out a bronze plaque.

"Now what do you think of that?" he asked, handing it to me.

I carefully examined it. The bronze was of a beautiful rich golden-brown colour, with an exquisite patina, or polish, and was inlaid in relief with silver and gold, and with shakudo and other alloys of bronze. The design represented the famous Bay of Enoura, from Shizu-ura by the Izu peninsula. Silver-tipped waves were lapping the shore, and out on the ocean two golden junks were running before the wind, with silver sails bellying to the breeze. By the beach there was a grove of old pines, in various alloys, and in the distance Fuji-san's snowy crest, of silver, floated in the sky above clouds of shihutchi (a grey alloy of silver and bronze). The price was £8.

I had certainly never seen anything more beautiful, either in design or workmanship, in any shop I had previously visited, and said so.

"Do you know what I think of it?" Kuroda replied, and continued without waiting for an answer: "What you are looking at is nothing but mere rubbish. No Japanese collector would bestow a second glance on it. Now I will show you what a Japanese, who knows, would call good work."

With that he opened another box, and brought forth another plaque of like size, about seven inches in diameter, and handed it to me. The design was the same, yet not the same. The composition of the picture was different, though the view was still Enoura Bay, with Fuji and the junks and pine-trees. But it was not the difference in the composition that struck me so much as the surpassing beauty of the workmanship. To examine these pieces, side by side, was in itself an education. One piece was beautiful, the other was incomparably beautiful. There was as much difference between them as there is between a cut-glass bowl made by hand and another pressed in a mould. This difference was not apparent at the first glance, and only by careful scrutiny could I see the immense amount of skill and labour lavished upon the one and lacking in the other. The price of the second plaque was £30 nearly four times the price of the first one shown me. Though the thicker gold and silver used, and the better quality of the bronze, increased the value, yet the extra cost was mainly due to the workmanship expended on it.

Kuroda told me that the best pieces of his work were bought by English and French visitors. Small vases and plaques are the favourite pieces, but if one desires something combining beauty with practical utility one may buy a cigarette or card-case of shibuichi, inlaid in relief with some such simple design as a peasant carrying a load of firewood, or a pair of fighting-cocks; but one must pay £10 for it if one wants the finest work. This case, however, will be "a joy for ever" to its owner, as he will always have the satisfaction of knowing that it is a sample of the best art of its kind.

EXHIBITIONS

Participated in the following exhibitions:
1904: Louisiana Purchase Exposition (St. Louis, USA).
1915: Panama-Pacific International Exposition (San Francisco, USA). Awarded Gold Medal.

Louisiana (1904)
Exposition record
Panama-Pacific (1915)
Exposition record

ADDRESS

No. 19, Teramachi, Shijo Minami, Kyoto.
Yojo-sagaru, Teramachi, Shimokyo-ku, Kyoto.

MARKS



The trademark of Kuroda's workshop


京都黒田造
京都 (Kyoto) 黒田 (Kuroda) 造 (make, create)
Kyoto Kuroda zou
Made by Kuroda from Kyoto

Individual marks of artists from the Kuroda workshop



光延
MITSUNOBU


幸一
KOICHI
(Also worked in Nogawa workshop)


?民
SEIMIN



光美
KOMI



玄溪
GENKAI



UNKNOWN



UNKNOWN

YUKITSUGU

KOJI

ATSUYOSHI

MINETSUGU

KIYOHIDE

JOMEI

KAZUAKI

ADVERTISEMENTS

1903
1913
1914
1915

1917
Receipt from 1918

EXAMPLES

References:

"Sights of Old Capital", by Akiyama Aisaburo, 1919, p. 133.