Plate
1 of 2
Object Label
The top half of this fanciful plate depicts Fujin, the Japanese god of wind. He slings his heavy bag of wind over his muscled shoulders on a background of swirling air. The depiction of Fujin represents the pictorial, almost painterly, use of the cloisonné medium that was favored in nineteenth-century Japan. However, the lower section of the plate makes direct reference to the Chinese cloisonné tradition, with repeated patterns of birds and leaves against the popular turquoise ground. This plate is a rare example of the documented use of such Japanese imports in an American interior—used by Herter Brothers in the interior of the Fifth Avenue house of John Sloane in 1882.
Caption
Japanese. Plate, 19th century. Metal with cloisonne decoration, 1 1/4 x 12 in. (3.2 x 30.5 cm). Brooklyn Museum, Gift of Mrs. William E. S. Griswold in memory of her father, John Sloane, 41.980.47. Creative Commons-BY (Photo: Brooklyn Museum, CUR.41.980.47.jpg)
Gallery
Not on view
Collection
Gallery
Not on view
Collection
Culture
Title
Plate
Date
19th century
Geography
Place made: Japan
Medium
Metal with cloisonne decoration
Classification
Dimensions
1 1/4 x 12 in. (3.2 x 30.5 cm)
Credit Line
Gift of Mrs. William E. S. Griswold in memory of her father, John Sloane
Accession Number
41.980.47
Rights
Creative Commons-BY
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Frequent Art Questions
Was the conception of this depiction of Fujin influenced by Greek myths of wind gods like Zephyr?
Good question but I don’t believe so. Fujin ties into Shinto beliefs. However, it is interesting that so many cultures have personifications of wind! In our collection we also have figures of the Egyptian god Shu and the Aztec deity Ehecatl.When was cloisonné as a medium introduced in the East? How did cloisonné travel north to Nordic countries?
Cloisonné was developed in the Mediterranean ca. 1500 BCE and traveled to China on the Silk Road in the 10th century CE. Although Chinese cloisonné enamels were highly valued in Japan, it was not until the late 16th century that cloisonné enamels became widely produced in Japan. For much of history North Sea trade connected Scandinavia with the rest of Europe (and ultimately the world).Why is the plate cut in half?
The image represents Fujin, the Japanese Shinto god of wind. Japanese artists have been known to cut the images on plates in half, as you said. Notice how enamel has been applied to the surface in different ways. The colors in the background of the top half blend together like an ink painting; there aren't sharp lines dividing the different colors. This Japanese style of enamel contrasts sharply with the lower half of the plate which has a harder edged application, more typical of the Chinese enameling tradition.Is it significant that the muscles of the demon on one of the ancient Japanese plates look like clouds?
Well since the figure pictured is Fujin, the Japanese god of wind, his appearance definitely relates to the sky and, by extension, clouds!
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