JOMI EISUKE II: AN IMPRESSIVE MIXED-METAL PAGODA FORM KORO (INCENSE BURNER)

By Jomi Eisuke II (1839-1899), sealed Jomi sei
Japan, late 19^th century, Meiji period (1868-1912)

Published: G. Lester, Japanese Metal Art in the Meiji Era, Arts of Asia, Hong Kong, 1987, p. 102, fig. 14.

A magnificent mixed-metal censer composed of numerous interlocking sections (now eight separate pieces), conceived as a multi-tiered temple pavilion raised on a rectangular plinth finely decorated with blossoms and butterflies. The entire structure is richly adorned in iro-e takazogan and hirazogan, each surface worked in exceptionally fine relief and inlay. The lower section features a double-door entrance mounted with gilt kiku fittings and flanked by a pair of fierce Nio guardians. The curved side panels incorporate small drawers decorated with komainu, the mythical lion-dog protectors of shrine gateways, beneath clusters of peonies.

The overhanging eaves are hung with minute gilt bells, while the upper storey displays inlaid panels of phoenixes set beneath bands of kiri (paulownia) crests. The tiled roofs are executed with meticulous precision, capped by ridge ornaments and gilt corner finials, and pierced in two sections to allow incense smoke to drift gracefully through the openwork. A silver chamber just beneath the roof serves as the incense holder. Several of the gilt fittings are formed with inome (boar’s-eye) motifs, traditional symbols of protection in Japanese architecture.

The reverse bears the seal mark JOMI sei [made by Jomi]

SIZE 28.8 x 26.5 x 23.2 cm
WEIGHT 7.8 kg

Condition: Very good condition with minor wear, some expected scratching on the contact surface between the pagoda and platform, and some very minor losses to takazogan inlays and fittings. Presenting beautifully.

Architectural incense burners of this complexity epitomize the Meiji fascination with miniature temple architecture rendered in metal. The selective gilding highlights the roof architecture and finials, while the concealed drawers and compartments give the piece a hybrid character—at once a devotional object and a sculptural display of technical mastery.

Jomi Eisuke II (also known as Jomi Einosuke) studied under the celebrated metal artist Kanaya Gorosaburo. He exhibited widely at the second, third, and fourth Domestic Industrial Expositions (1881, 1890, 1895) and was appointed an Artist to the Imperial Household (Teishitsu Gigeiin) in 1896. Eisuke’s work received major prizes at international exhibitions including Philadelphia (1876), Paris (1878, 1889, 1900), Chicago (1893), St Louis (1904), and the Japan-British Exhibition (1910, London).

The present masterpiece, clearly conceived for exhibition, demonstrates the height of his technical ability and artistic vision. Its elaborate structure, rich contrasts of gold, silver, and bronze, and ingenious architectural design indicate production for the export and exhibition markets, where such Meiji metalwork was celebrated as among the finest in the world.

Literature comparison:
Compare a related bronze vase with similar takazogan inlays, by Jomi Eisuke II, c. 1880, 40.2 cm tall, illustrated in The Nasser D. Khalili Collection of Japanese Art - Treasures of Imperial Japan, Metalwork Part II, 1995, no. 95.

Auction comparison:
Compare a related Komai model of a three-tiered pagoda, 19^th century, 35.6 cm tall, at Bonhams, Fine Japanese Works of art, 15 September 2015, New York, lot 3297 (sold for USD 17,500 or approx. EUR 20,500 converted and adjusted for inflation at the time of writing).

#Expert video JPN1225