| Antique Japanese lacquer inro and boxes are | | | | frequently in a wide range of Oriental |
| such incredibly beautiful works of art, | | | | art.AMAZING SKILLSMany of the new Japanese |
| particularly, pieces from the late 18th and | | | | techniques and most of the superb designs |
| early 19th century. I consider many of them | | | | were originally to be found on the 14th and |
| to rate very highly, amongst the finest | | | | 15th century boxes. The skills and control in |
| treasures of the World!Without I hope being | | | | decoration that were developed in the 18th |
| too technical, my intention is to use and to | | | | and early 19th century, were based both on |
| explain the terms and names, that are most | | | | these earlier techniques and designs, but |
| commonly in use. This way readers who might | | | | this was a period where new peaks were |
| be tempted to look at sale catalogues, will | | | | reached and breathtakingly beautiful lacquer |
| be more able to appreciate and understand the | | | | works have been created.Several craftsmen |
| descriptions.INRO FASHIONWith the | | | | were involved in the making of an inro. First |
| introduction of the kimono, the inro became | | | | the very thin wood base would have been |
| one of the most important and essential | | | | painstakingly made, with carefully selected |
| fashion accessories used to carry on ones | | | | wood, where all the knots had to be avoided. |
| person such items as ink seals and | | | | Conifers were preferred as this wood |
| medicines.The kimono had no pockets so the | | | | contained very little resin.It would then |
| inro was a clever container, consisting of a | | | | have been handed to the next craftsman, a |
| number of interlocking small separate | | | | specialist at applying the numerous base |
| sections, all held together on a silk cord | | | | layers of lacquer. Each layer would be |
| and worn hanging from the sash tied at the | | | | extremely thin, and gradually finer and finer |
| waist. Soon it evolved from a purely | | | | quality lacquer was used, at least 30 layers |
| functional item to one of very high fashion, | | | | were applied, so that no trace of the wood |
| and the designs and decoration gradually | | | | inside could any longer be visible. Only at |
| became richer, finer and even more | | | | this stage would the lacquer artist |
| lavish.NETSUKE, OJIME AND INROA bead known as | | | | responsible to design and create the many |
| an 'Ojime' kept the various sections closed | | | | layers of decoration begin.What does seem |
| tight together. A toggle normally a small | | | | amazing to me, when one considers how the |
| wood or ivory carving known as a 'Netsuke' | | | | wood base was made, was the fact that they |
| would also be threaded on to the silk cord. | | | | would have had to make allowances for the |
| The netsuke (these are such superb little | | | | thickness of all these layers. Yet the Inro |
| sculptures) would be pushed up under the sash | | | | sections fit and slot into each other so |
| (known as the 'Obi') that was tied round the | | | | perfectly, that one can hardly see any of the |
| waist, and would thus hold the inro hanging | | | | dividing lines once closed.THE |
| below.The silk cord would have had to be | | | | DECORATIONOften two artists would collaborate |
| about 56 inches long, and was threaded in | | | | to decorate an inro, one a lacquer artist, |
| such a way, that about 3 to 4 inches of the | | | | the other could be a metal worker or even a |
| cord would show below the 'Obi' to the | | | | netsuke carver, providing wonderfully worked |
| 'Ojime' and 'Inro'. Are you still with me? | | | | items, that would be inlaid in the lacquer. |
| Under the inro a many-looped special bow was | | | | Various materials have been used in this way |
| formed, with normally six loops all of the | | | | such as precious metals, pottery, ivory, |
| same size. There would only be one knot and | | | | shell, horn and many others. Incidentally, |
| this would be hidden in the larger of the two | | | | there had to be very close collaboration, for |
| cord holes, within the Japanese netsuke. No | | | | each time an inlay in the design overlapped |
| loose ends would be visible.Sometimes a | | | | more than one section, it had to be made in |
| 'Manju' would be used instead of the netsuke. | | | | two pieces to allow the inro to open. Such |
| These are rather like a thick pocket watch | | | | inro often have two signatures as both of the |
| shaped carving, comprising two sections that | | | | artists would sign.The superb gold inro |
| open up. The lower piece has a central hole, | | | | photographed is decorated with exquisitely |
| and an eyelet for the cord is fixed inside | | | | applied metal work, the scene being of an |
| the upper section. Once attached to the cord, | | | | outside stage with two actors. One is an |
| the knot would remain hidden inside but | | | | archer, about to fire his bow at the other on |
| unlike the netsuke, the carving or decoration | | | | the reverse, who is crouching down protecting |
| of a manju is only two-dimensional.The | | | | a monkey.The face of the archer, although |
| earliest 'Ojime' were simply a drilled bead, | | | | mostly viewed in profile, surprisingly, has |
| often of coral, as they had faith in a | | | | his full-face details if viewed from the |
| superstition that coral would disintegrate if | | | | side.The remarkable metal work extends over |
| near to poison. Quite valuable to them, if | | | | three of the Inro sections. In this |
| only it had been true, as they carried and | | | | particular case, both the Lacquer and the |
| took some very strange medicines. Later | | | | metal work were by the same artist and it is |
| semiprecious stones and ivory were used, some | | | | signed Noriyuki. (See the photograph by using |
| of them are beautifully carved, and there are | | | | the link at the end of this article).This |
| also many very fine metal ojime. Today | | | | inro has an attractive metal Ojime, and a |
| collectors even specialise in just ojime and | | | | good Ivory Netsuke, of two musicians. The |
| they have become quite valuable. I do think | | | | Netsuke is signed Harumin.THE |
| it is rather a shame that so many of these | | | | ARTISTSSignatures however, are not always a |
| items are now collected separately, when they | | | | sure way of knowing who did the work. Often |
| really all belong together.For many years | | | | the signature was placed in honour, not as a |
| there have been Japanese netsuke collectors, | | | | forgery, of a great artist who originated the |
| and I can appreciate why, as they are | | | | design such as the top early artists Ritsuo |
| complete artworks, as well as being wonderful | | | | and Korin. Many very fine lacquer works were |
| handling pieces. Anyway, so many netsuke | | | | not signed at all. Pieces that were |
| collectors given time find they are tempted | | | | commissioned by the Shogun or Daimyo, where |
| by inro too! I always considered myself to be | | | | only the highest of standards were |
| rather a specialist collector, but I would | | | | acceptable, would not normally be signed, no |
| not be happy to own inro, without an ojime or | | | | matter how important the artist.In 1868 the |
| netsuke, as they would seem so incomplete! I | | | | Meiji restoration meant the loss of such |
| could not imagine being satisfied with only | | | | patrons, and Japan had opened up to the west. |
| collecting the ojime, beautiful as some of | | | | This meant that artists had to try to appeal |
| them are. Obviously these high prices have | | | | to new clients, with an unknown Western |
| been the main reason for such | | | | taste. Thank goodness, they were not prepared |
| specialisation!KEEPING LACQUERGreat care | | | | however, to give up certain of their |
| needs to be taken when handling lacquer, as | | | | traditional designs and techniques.Family |
| it can so easily be damaged by knocks. The | | | | names passed down from one generation to |
| most common cause occurs when the inro is | | | | another; the name of a particularly admired |
| picked up, for if the netsuke is allowed to | | | | artist would be signed by all the following |
| swing and bump into the inro, the lacquer | | | | generations. They would also have non related |
| will dent and chip.One should always try to | | | | students, who would be encouraged to use the |
| hold the silk cord when inspecting inro, | | | | same name, on work of a high enough standard, |
| rather than finger the lacquer, as there is | | | | that is, until they were sufficiently |
| something in our perspiration that dulls the | | | | proficient to become independent. One such |
| shine in time.All lacquer is best kept in a | | | | family name was Koma, where the later very |
| reasonably humid atmosphere avoiding sudden | | | | famous 19th century artist, Shibata Zeshin |
| changes of temperature. This is not so | | | | was taught.There is a wonderful display of |
| difficult to arrange in this country, it is | | | | Japanese inro by Zeshin at the V & A Museum, |
| simply a matter of keeping a bowl of water in | | | | of a collection based on the twelve months of |
| the same cabinet and avoiding the use of any | | | | the year, which is well worth a visit. Each |
| hot spot lights.LACQUER BOXESMost of the | | | | piece is superb, and a large variety of |
| early 'Boxes' or 'Kogo' were made to keep | | | | techniques can be seen all in one place!THE |
| things in, such as Suzuribako, these were | | | | GREAT SCHOOLSThe finest artists were all |
| fully fitted writing boxes that contained the | | | | talented members of schools, often under the |
| ink block, water dropper, all the brushes and | | | | supervision of a master, such as Koma and |
| tools. Some were fitted with all the | | | | Kajikawa, and these two schools produced high |
| requirements for pastimes such as the Incense | | | | quality Lacquer for over two hundred years. |
| Game or the Shell Game, whilst others were | | | | Other schools have become known for their |
| designed as Picnic Sets.A lot of Japanese | | | | special techniques. One is Somada that |
| lacquer boxes were used as a means of | | | | specialised in very fine Shell inlay; another |
| packaging, for deliveries of documents, or | | | | is Shibayama who worked with more thickly |
| sweet cakes and gifts.The practice used to be | | | | encrusted materials such as shell, ivory, |
| that once filled with gifts, they were then | | | | soapstone, pottery and many other materials. |
| simply wrapped in a material that was formed | | | | There was also Tsuishu Yosei who brilliantly |
| into a sack. This was then carried, over the | | | | carved red Lacquer, but the Shiomi Masanari |
| shoulder, by the messenger and delivered. The | | | | School favoured the most difficult technique |
| recipient would later have all the boxes | | | | of all, known as Togadashi where the surface |
| returned, normally with a note and something | | | | is kept perfectly flat.Superb quality Lacquer |
| little in them, as a gift to say thank you, | | | | work was not restricted to Inro, but there |
| and so these boxes would be used over and | | | | are also some magnificent boxes that were |
| over again.They all are beautifully decorated | | | | used, such as 'Bunko' for documents, 'Fubako' |
| and it is surprising to us that these boxes | | | | for letters and 'Kogo' incense boxes, |
| were not, in those days, considered more | | | | originally used for cosmetics. Some of these |
| valuable.THE DESIGNSNearly all the designs | | | | boxes also have a fitted tray, and sometimes |
| were taken from early classical literature, | | | | a set of smaller boxes, that all fit |
| paintings or woodblocks. Printed picture | | | | perfectly inside. Many of these items |
| books had become very popular in the 17th | | | | including the already described writing, |
| century. They hardly ever had any text, but | | | | games and picnic boxes as well as pieces of |
| many of the illustrations were copied and | | | | furniture, can all be found just as finely |
| used by lacquer artists, in the same way as | | | | decorated as inro.The little kogo |
| other craftsmen had done, such as enamellers, | | | | photographed is signed Kosentie and so |
| potters and metal workers. This is why we | | | | beautifully decorated on the cover and sides, |
| find various popular scenes recurring in | | | | with continuous scenes of bamboo growing |
| inro, such as the young herdsman playing the | | | | besides a running stream. The fitted tray has |
| flute next to his resting ox, and Rosei's | | | | a similar scene and every other part is |
| dream is another subject frequently found.The | | | | covered in tiny gold pieces, each placed by |
| photograph (To see the photographs please | | | | hand individually. So much richer a finish is |
| click on the link at the end of this article) | | | | achieved, than the more usual 'Nashiji', |
| of an inro depicting Rosei's dream is a very | | | | where fine gold is carefully sprinkled on! |
| fine example: it shows him partially hidden | | | | (See the photograph by using the link at the |
| by his fan that is inlaid with a very thin | | | | end of this article).If you have a good eye |
| piece of iridescent shell. At certain angles | | | | for composition the appreciation of lacquer |
| of light his face can clearly be seen. On the | | | | work is hard to resist. On inro they have |
| reverse, in superbly fine gold work, is the | | | | very ingenious methods of design to make one |
| subject of his dream. He is dreaming of his | | | | wish to see the other side, such as the use |
| ride in a stately court procession. This inro | | | | of a rope that mysteriously disappears round |
| is Signed Komo Kyuhaku.Together with this | | | | the side, or a scroll that flows round the |
| inro is a lacquer Ojime, and a wood netsuke, | | | | inro.When we began collecting, we were simply |
| carved as a kneeling man with a dagger. This | | | | only buying pieces that we instinctively |
| intriguing netsuke is signed Minko. By | | | | liked, and we have had no regrets. There is |
| pulling gently on the sheath, the steel blade | | | | so much to learn however, once one becomes |
| comes into view, creating quite an effective | | | | interested, especially these days when modern |
| illusion.I must apologise, as the silk cord | | | | inro are being produced to a very high |
| is not tied in the correct fashion in both of | | | | standard. Having seen the work of Unryuan, a |
| the inro photographed - one day I shall have | | | | very good artist born in 1952, his inro |
| to put this right!Compositions in general | | | | command nearly as much as the antique works. |
| favoured nature, animals, flowers, birds, | | | | So many inro these days have been very |
| insects, Mount Fuji, every day life, myths | | | | cleverly repaired and now that so much money |
| and legends. The first western visitors also | | | | is involved a lot of care when buying is |
| fascinated the Japanese. The Portuguese were | | | | needed.I do hope that there will always be |
| the first to arrive in 1542, followed soon by | | | | private collections and that lacquer will not |
| the Dutch, and all the arts were greatly | | | | be confined to Museums, as it is such a |
| influenced from the mid 16th century onwards. | | | | fascinating hobby! |
| Dutchmen in particular are featured quite | | | | |