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