The Fascination of Japanese Lacquer Inro and Boxes

Japanese Lacquer Inro and Boxes are suchparticular are featured quite frequently in a wide
incredibly beautiful works of art, particularly, piecesrange of Oriental art.
from the late 18th and early 19th century. IAmazing Skills
consider many of them to rate very highly,Many of the new Japanese techniques and most
amongst the finest treasures of the World!of the superb designs were originally to be found
Without I hope being too technical, my intention ison the 14th and 15th century Boxes. The skills
to use and to explain the terms and names, thatand control in decoration that were developed in
are most commonly in use. This way readersthe 18th and early 19th century, were based both
who might be tempted to look at sale catalogues,on these earlier techniques and designs, but this
will be more able to appreciate and understandwas a period where new peaks were reached
the descriptions.and breathtakingly beautiful Lacquer works have
Inro Fashionbeen created.
With the introduction of the Kimono, the InroSeveral craftsmen were involved in the making of
became one of the most important and essentialan Inro. First the very thin wood base would have
fashion accessories used to carry on ones personbeen painstakingly made, with carefully selected
such items as ink seals and medicines.wood, where all the knots had to be avoided.
The Kimono had no pockets so the Inro was aConifers were preferred as this wood contained
clever container, consisting of a number ofvery little resin.
interlocking small separate sections, all heldIt would then have been handed to the next
together on a silk cord and worn hanging fromcraftsman, a specialist at applying the numerous
the sash tied at the waist. Soon it evolved from abase layers of lacquer. Each layer would be
purely functional item to one of very high fashion,extremely thin, and gradually finer and finer quality
and the designs and decoration gradually becameLacquer was used, at least 30 layers were
richer, finer and even more lavish.applied, so that no trace of the wood inside could
Netsuke & Ojimeany longer be visible. Only at this stage would the
A bead known as an ‘Ojime' kept the variousLacquer artist responsible to design and create
sections closed tight together. A toggle normally athe many layers of decoration begin.
small wood or ivory carving known as aWhat does seem amazing to me, when one
‘Netsuke' would also be threaded on to theconsiders how the wood base was made, was
silk cord. The Netsuke (these are such superb littlethe fact that they would have had to make
sculptures) would be pushed up under the sashallowances for the thickness of all these layers.
(known as the `Obi') that was tied round theYet the Inro sections fit and slot into each other
waist, and would thus hold the Inro hanging below.so perfectly, that one can hardly see any of the
The silk cord would have had to be about 56dividing lines once closed.
inches long, and was threaded in such a way, thatThe Decoration
about 3 to 4 inches of the cord would showOften two artists would collaborate to decorate
below the ‘Obi' to the ‘Ojime' and Inro.an Inro, one a Lacquer artist, the other could be a
Are you still with me? Under the Inro ametal worker or even a Netsuke carver, providing
many-looped special bow was formed, withwonderfully worked items, that would be inlaid in
normally six loops all of the same size. Therethe Lacquer. Various materials have been used in
would only be one knot and this would be hiddenthis way such as precious metals, Pottery, Ivory,
in the larger of the two cord holes, within theShell, Horn and many others. Incidentally, there
Netsuke. No loose ends would be visible.had to be very close collaboration, for each time
Sometimes a Manju would be used instead of thean inlay in the design overlapped more than one
Netsuke. These are rather like a thick pocketsection, it had to be made in two pieces to allow
watch shaped carving, comprising two sectionsthe Inro to open. Such Inro often have two
that open up. The lower piece has a central hole,signatures as both of the artists would sign.
and an eyelet for the cord is fixed inside theThe superb gold Inro photographed is decorated
upper section. Once attached to the cord, thewith exquisitely applied metal work, the scene
knot would remain hidden inside but unlike thebeing of an outside stage with two actors. One is
Netsuke, the carving or decoration of a Manju isan archer, about to fire his bow at the other on
only two-dimensional.the reverse, who is crouching down protecting a
The earliest ‘Ojime' were simply a drilled bead,monkey.
often of coral, as they had faith in a superstitionThe face of the archer, although mostly viewed in
that coral would disintegrate if near to poison.profile, surprisingly, has his full-face details if
Quite valuable to them, if only it had been true, asviewed from the side.
they carried and took some very strangeThe remarkable metal work extends over three
medicines. Later semiprecious stones and Ivoryof the Inro sections. In this particular case, both
were used, some of them are beautifully carved,the Lacquer and the metal work were by the
and there are also many very fine metal Ojime.same artist and it is signed Noriyuki. (See the
Today collectors even specialise in just Ojime andphotograph by using the link at the end of this
they have become quite valuable. I do think it isarticle).
rather a shame that so many of these items areThis Inro has an attractive metal Ojime, and a
now collected separately, when they really allgood Ivory Netsuke, of two musicians. The
belong together.Netsuke is signed Harumin.
For many years there have been NetsukeThe Artists
collectors, and I can appreciate why, as they areSignatures however, are not always a sure way
complete artworks, as well as being wonderfulof knowing who did the work. Often the signature
handling pieces. Anyway, so many Netsukewas placed in honour, not as a forgery, of a great
collectors given time find they are tempted byartist who originated the design such as the top
Inro too! I always considered myself to be ratherearly artists Ritsuo and Korin. Many very fine
a specialist collector, but I would not be happy toLacquer works were not signed at all. Pieces that
own Inro, without Ojime or Netsuke, as theywere commissioned by the Shogun or Daimyo,
would seem so incomplete! I could not imaginewhere only the highest of standards were
being satisfied with only collecting the Ojime,acceptable, would not normally be signed, no
beautiful as some of them are. Obviously thesematter how important the artist.
high prices have been the main reason for suchIn 1868 the Meiji restoration meant the loss of
specialisation!such patrons, and Japan had opened up to the
Keeping Lacquerwest. This meant that artists had to try to appeal
Great care needs to be taken when handlingto new clients, with an unknown western taste.
Lacquer, as it can so easily be damaged byThank goodness, they were not prepared
knocks. The most common cause occurs whenhowever, to give up certain of their traditional
the Inro is picked up, for if the Netsuke is alloweddesigns and techniques.
to swing and bump into the Inro, the Lacquer willFamily names passed down from one generation
dent and chip.to another; the name of a particularly admired
One should always try to hold the silk cord whenartist would be signed by all the following
inspecting Inro, rather than finger the Lacquer, asgenerations. They would also have non related
there is something in our perspiration that dulls thestudents, who would be encouraged to use the
shine in time.same name, on work of a high enough standard,
All Lacquer is best kept in a reasonably humidthat is, until they were sufficiently proficient to
atmosphere avoiding sudden changes ofbecome independent. One such family name was
temperature. This is not so difficult to arrange inKoma, where the later very famous 19th century
this country, it is simply a matter of keeping aartist, Shibata Zeshin was taught.
bowl of water in the same cabinet and avoidingThere is a wonderful display of Inro by Zeshin at
the use of any hot spot lights.the V & A Museum, of a collection based on the
Lacquer Boxestwelve months of the year, which is well worth a
Most of the early Boxes were made to keepvisit. Each piece is superb, and a large variety of
things in, such as Suzuribako, these were fullytechniques can be seen all in one place!
fitted writing boxes that contained the ink block,The Great Schools
water dropper, all the brushes and tools. SomeThe finest artists were all talented members of
were fitted with all the requirements for pastimesschools, often under the supervision of a master,
such as the Incense Game or the Shell Game,such as Koma and Kajikawa, and these two
whilst others were designed as Picnic Sets.schools produced high quality Lacquer for over
A lot of Lacquer boxes were used as a means oftwo hundred years. Other schools have become
packaging, for deliveries of documents, or sweetknown for their special techniques. One is Somada
cakes and gifts.that specialised in very fine Shell inlay; another is
The practice used to be that once filled with gifts,Shibayama who worked with more thickly
they were then simply wrapped in a material thatencrusted materials such as Shell, Ivory,
was formed into a sack. This was then carried,Soapstone, Pottery and many other materials.
over the shoulder, by the messenger andThere was also Tsuishu Yosei who brilliantly
delivered. The recipient would later have all thecarved red Lacquer, but the Shiomi Masanari
Boxes returned, normally with a note andSchool favoured the most difficult technique of all,
something little in them, as a gift to say thankknown as Togadashi where the surface is kept
you, and so these Boxes would be used over andperfectly flat.
over again.Superb quality Lacquer work was not restricted
They all are beautifully decorated and it isto Inro, but there are also some magnificent
surprising to us that these Boxes were not, inboxes that were used, such as `Bunko' for
those days, considered more valuable.documents, `Fubako' for letters and `Kogo' incense
The Designsboxes, originally used for cosmetics. Some of
Nearly all the designs were taken from earlythese Boxes also have a fitted tray, and
classical literature, paintings or woodblocks. Printedsometimes a set of smaller boxes, that all fit
picture books had become very popular in theperfectly inside. Many of these items including the
17th century. They hardly ever had any text, butalready described writing, games and picnic boxes
many of the illustrations were copied and used byas well as pieces of furniture, can all be found just
Lacquer artists, in the same way as otheras finely decorated as Inro.
craftsmen had done, such as enamellers, pottersThe little Kogo photographed is signed Kosentie
and metal workers. This is why we find variousand so beautifully decorated on the cover and
popular scenes recurring in Inro, such as thesides, with continuous scenes of bamboo growing
young herdsman playing the flute next to hisbesides a running stream. The fitted tray has a
resting ox, and Rosei's dream is another subjectsimilar scene and every other part is covered in
frequently found.tiny gold pieces, each placed by hand individually.
The photograph (To see the photographs pleaseSo much richer a finish is achieved, than the more
click on the link at the end of this article) of anusual `Nashiji', where fine gold is carefully sprinkled
Inro depicting Rosei's dream is a very fineon! (See the photograph by using the link at the
example: it shows him partially hidden by his fanend of this article).
that is inlaid with a very thin piece of iridescentIf you have a good eye for composition the
shell. At certain angles of light his face can clearlyappreciation of Lacquer work is hard to resist. On
be seen. On the reverse, in superbly fine goldInro they have very ingenious methods of design
work, is the subject of his dream. He is dreamingto make one wish to see the other side, such as
of his ride in a stately court procession. This Inrothe use of a rope that mysteriously disappears
is Signed Komo Kyuhaku.round the side, or a scroll that flows round the
Together with this Inro is a lacquer Ojime, and aInro.
wood Netsuke, carved as a kneeling man with aWhen we began collecting, we were simply only
dagger. This intriguing Netsuke is signed Minko. Bybuying pieces that we instinctively liked, and we
pulling gently on the sheath, the steel blade comeshave had no regrets. There is so much to learn
into view, creating quite an illusion.however, once one becomes interested, especially
I must apologise, as the silk cord is not tied in thethese days when modern inro are being produced
correct fashion in both of the Inro photographed -to a very high standard. Having seen the work of
one day I shall have to put this right!Unryuan, a very good artist born in 1952, his Inro
Compositions in general favoured nature, animals,command nearly as much as the earlier works. So
flowers, birds, insects, Mount Fuji, every day life,many Inro these days have been very cleverly
myths and legends. The first western visitors alsorepaired and now that so much money is involved
fascinated the Japanese. The Portuguese werea lot of care when buying is needed.
the first to arrive in 1542, followed soon by theI do hope that there will always be private
Dutch, and all the arts were greatly influencedcollections and that Lacquer will not be confined to
from the mid 16th century onwards. Dutchmen inMuseums, as it is such a fascinating hobby!