Shakudō: from Samurai Ornaments to Jewelry

EVENT DESCRIPTION

In celebration of the 5th anniversary of L’ECOLE Asia Pacific, a newly curated exhibition titled “Shakudo: from Samurai Ornaments to Jewelry” will be unveiled on December 11^th.

For one of the first exhibition devoted to shakudō, L’ECOLE highlights the technique, uses and fascinating history of this black metal traditionally used in Japan for the decorative elements of samurai swords (tsuba, menuki, kozura, ete).

For this occasion, L’ÉCOLE is showcasing more than 30 pieces of jewelry with European mounts adorned with shakudō elements inlaid with gold, silver and copper, depicting collection Japanese from the Edo period. All the jewelry pieces come from a single collection, shown to the general public for the first time.

The exhibition, organized in three main sections, begins with the technical aspects of shakudō, an alloy composed of 94% copper and 4% gold, which gives it its red color. Shakudō literally means “red” and “copper”. To obtain its black patina, metalworkers degrease and polish it with charcoal before immersing it in a chemical solution. They have excelled in this art since the 12th century when shakudō replaced urushi lacquer on swords. Due to lack of documentation, the reason for this evolution remains unknown. This exhibition contextualizes shakudō in the global history of metalwork. It has in fact been detected in other cultures and civilizations, and is even mentioned in classic texts such as the Iliad.

How did shakudō transition from swords to jewelry? The fascinating story has its origins in a political event: the opening of Japan to international trade during the Edo era, from 1853 onwards, under pressure from American “black ships”, after two centuries of isolation. The country’s modernization with the abolition of the feudal system led to the end of the samurai and the prohibition of sword-carrying in 1876. The metalworkers, deprived of their clients, were encouraged by the Meiji government’s export policy to adapt their production to European tastes; they began to manufacture small components in shakudō.

In the West, jewelers discovered – probably at the 1867 Universal Exhibition in Paris – the virtuosity of Japanese craftsmen, capable of creating vibrant shades of gold, copper and silver. In search of renewal, they utilized these shakudō pieces bought from merchants who established themselves in London, Paris, and New York; they integrated them into their European settings in place of cameos and enamel miniatures.

Hybrids between European aesthetics and Japanese technique, these jewels made between 1860 and 1880 illustrate the fascination with everything Japanese at the time. The shakudō  pieces inlaid with miniature scenes are an endless source of surprise and wonder. They bear witness to the lives of wealthy merchants in Edo (Tokyo’s former name), at the height of its peace and prosperity. Through magnifying glasses, visitors can discover the minutest details of tea ceremonies, women playing the koto, fishing boats, wild reeds, and anthropomorphic animals. These miniatures also herald the end of a traditional world now subject to foreign influences: samurai, stripped of their warrior spirit, stroll along the water’s edge in kimonos.