海野勝珉

Unno Shōmin was born in Mito, Hitachinokuni (present-day Mito-shi, Ibaraki-ken) on June 30, 1844 (fifteenth day of fifth month of Kōka 1) as the son of Unno Den’emon, younger brother of the metalworker Unno Bisei (Yoshimori) I (1785–1862). His childhood name was Takejirō, and he used the art names Hōshū 芳洲, Sōzeiken 藻税軒, Teigetsuan 貞月庵, Kyokutō 旭東, and Tōkasai 東華斎 too. From the age of nine or so, he learned metalwork from his uncle Unno Bisei I, and became a pupil of Hagiya Katsuhira (1804–1866) of the Mito school (“takabori” [high relief carving] technique) in the closing days of the Tokugawa shogunate. He also studied painting under Adachi Baikei, and calligraphy under Take Shōjirō. In 1867 (Keiō 3), he set up his own business and, in Mito, he produced sword accouterments. In 1868 (Meiji 1), he moved to Tokyo, where he lodged at his elder brother Seiryūken Sanada Yoshimasa (Seikoku) (青龍軒眞田義政[静國])’s house in Komagome Sendagi and was engaged in metalwork. It was around this time that he changed his name to Shōmin. In Tokyo, he made vases, incense burners, ornaments, tobacco case fittings, cigarette cases, incense boxes, clasps, rings, etc. In 1873 (Meiji 6), he studied how to carve flowers and birds under Karigane Morichika (雁金守親), and acquired techniques to be applied to furniture decoration and personal belongings. In the Meiji era, the period during which Unno was active, the state emerged as a new patron of the craft world. Likewise, in the metalwork circles too, support from the shogunate and daimyo was replaced by that of the state, the Imperial family, and the Imperial Household Agency. At a time when many metal carvers were struggling to overcome hardship following the Sword Abolishment Edict, Kanō Natsuo, who later became Unno’s teacher, was one who managed to survive the turbulence from the closing days of the Tokugawa regime to the Meiji era. Commissioned by the Meiji government, which had just been inaugurated, Kanō produced models for coins at the Mint Board, personally demonstrating that a metal carver could amply contribute to the government even in the new era. Boosted by this tailwind, Unno, too, submitted his works to expositions and competitions and won awards. From the latter half of 1877 (Meiji 10), while receiving commissions from the Imperial family and the Imperial Household Agency, he proceeded as a leading authority of the metal carving world. In 1877 (Meiji 10), Unno submitted “Mythological Figure, Gold Lock for a Bag” (神代人物金製袋物前錠, whereabouts unknown) to the 1st National Industrial Exposition and won a certificate of merit. Again at the 2nd National Industrial Exposition, he submitted “Plaque with Rice Ears and Sparrows” (稲穂に雀の図扁額, whereabouts unknown) and won a certificate of merit, which brought him to the forefront of the metal carving world. In 1888 (Meiji 21), he was put in charge of carving the cherry blossoms on the edge of the medal for Empress Dowager Shōken’s Order of the Precious Crown at Tokyo Chōkōkai (Tokyo Carvers’ Association). While Unno was good at “katagiribori” (one side cut carving), his works are characterized by flamboyant metal carving employing inlay and a variety of metals. He created works with emphasis on color and three-dimensionality. Such features are pronounced in the work he submitted to the 3rd National Industrial Exposition. In 1890 (Meiji 23), “Bugaku Dancer, Ranryō-ō” (1890, The Museum of the Imperial Collections, Sannomaru Shōzōkan, ICP [Important Cultural Properties]), which Unno submitted to the 3rd National Industrial Exposition, was produced with techniques that even the judges of the time were stunned by, and it became the work which brought Unno into prominence. This work emphasizes the bright colors and the three-dimensionality of the design employing “takaniku zōgan” (high relief inlay). The figure is produced by putting multiple parts together using casting, hammering, carving, and inlay techniques to the full. The point that the parts are joined so exquisitely that one cannot tell from the external appearance of the work was also highly commended, and it was awarded the First Prize of Virtuosity. In 1890, at a time when his proficiency could be considered as already having been acknowledged, Unno became a part-time employee at Tokyo Bijutsu Gakkō (Tokyo Fine Arts School, present-day Tokyo University of the Arts) and became a pupil of Kanō Natsuo. This apprenticeship was mediated by Machida Hisanari/Hisasumi. In those days, besides producing metalwork such as sword guards, utensils, plaques, ornaments, and vases employing relief carving, inlay, and “katagiribori,” at Tokyo Fine Arts School, Unno collaborated with Kanō Natsuo as assistant carver. In 1894 (Meiji 27), together with his teacher Kanō Natsuo, he produced “Wagtails on a Rock” (1894, The Museum of the Imperial Collection, Sannomaru Shōzōkan), which was presented by Tokyo Leather Merchant Union as a gift to celebrate the 25th Imperial Wedding Anniversary of Emperor Meiji. On that occasion, Unno also worked on “Pair of Six-Fold Screens with Shikishi Cards” (1894, The Museum of the Imperial Collection, Sannomaru Shōzōkan), which was produced by Ezawa Kingorō of Kinshōdō. This was a monumental work for which Unno and other noted metalworkers such as Kanō Natsuo carved silver shikishi cards, which were attached to folding screens. It was presented by senior and junior officials of the Ministry of Home Affairs. In 1899 (Meiji 32), commissioned by the Imperial Household Agency, Unno produced “Bugaku Dancer, Taiheiraku” (1899, The Museum of the Imperial Collection, Sannomaru Shōzōkan) for the 5th Paris World Exposition in 1900 (Meiji 33). This was a small statue of a “bugaku” dancer performing “Taiheiraku.” Using metals such as gold, silver, copper, and “shibuichi” (a copper alloy), Unno created a masterwork realistically representing the dancer’s features and details of the design. The way the head is cast and many parts of the costume are hammered is the same as “Bugaku Dancer, Ranryō-ō,” but the more realistic expressions demonstrate the influence of Western carving and modeling, which had been introduced anew to Japan. In the latter half of his career, Unno produced many silver vases such as “Vases with Falcon and Wave Designs” (1909, The Museum of the Imperial Collection, Sannomaru Shōzōkan). In the background of this situation was a change in times. Foreign frenzy for Japanese arts and crafts cooled down, and carved metalwork for export decreased. Unno and other metal carvers switched significantly to the domestic market by creating works to be presented to the Imperial family and submitting works to art exhibitions organized by Nihon Bijutsu Kyōkai (The Japan Art Association), which gradually led to the shapes and designs being standardized. Unno produced many works based on sound traditional methods until he died in 1915 (Taishō 4). In 1896 (Meiji 29), he was appointed as an Imperial Artist and, in both name and reality, became the leading authority of metal carving in the latter half of the Meiji era. He served as examiner at the National Industrial Exposition and played leading roles in research institutes such as Ryūchikai (Ryūchi Society), the Japan Art Association, and Nihon Kinkō Kyōkai (Japan Metalworkers’ Association). Amid changes in the metalwork scene following the Meiji Restoration, Unno endeavored to bring up the younger generation. In 1894 (Meiji 27), he became professor of the Metal Carving Department at Tokyo Fine Arts School, and many of his pupils such as Mizuno Gesshū (水野月洲) became metal carvers. In 1903 (Meiji 36), he was awarded the Medal of Blue Ribbon. He died aged seventy-two in Tokyo on October 6, 1915 (Taishō 4). (Miyakawa Noriko / Translated by Ogawa Kikuko) (Published online: 2025-04-10)