laka japońska, inro, netsuke

The ancient Japanese (before the Meiji Restoration at the end of the 19th century and the rapid "Westernization" of many aspects of life) for over a thousand years preserved conservative traditions, including in the area of clothing. Both the ordinary, simple clothing of peasants and the beautiful robes of courtiers were based on the construction of the "kimono," meaning a simple T-shaped cut resembling a robe with a reinforced collar encircling the neck and falling on the chest. Such attire was "unisex" in form. The kimono panels overlapped, with the right side under the left (men's wear) or the left under the right (women's wear).

Of course, this is an oversimplification, as various other types of clothing were also used, which included ordinary pants, special outer pants hakama, robes - yukata, jackets - kataginu, kosode, overcoat - haori, various coats, underwear, etc. However, the basic element was always some kind of "kimono". To prevent the garment panels from parting and to keep the whole assembly fastened, the kimono invariably was accompanied by a belt - obi, which varied in appearance and had several widths.

Neither kimono nor other clothing parts had pockets or similar "hiding places", yet the Japanese needed to carry various necessary items. Larger items, such as scrolls, were placed "under the arm" or hidden in the sleeves. For smaller items, various types of "pouches" - containers generally called sagemono ("hanging thing, attached thing") were used. The construction of sagemono allowed it to be clipped behind the obi belt, and in this way, the pouch "dangled" at the waist, often with several types being worn at once. These included, among others: kinchaku - a small purse for coins, tonkotsu - a container for tobacco smoking accessories, kiseru (kiseruzutsu) - a pipe, yatate - portable writing utensils, and others. Of course, those who had the right additionally carried weapons - swords - behind their belt.

The most spectacular sagemono was the inrō.

Inrō, to put it simply, is a segmented box composed of several (from 2 to 7) individual compartments that overlap each other in a way that ensures tightness and resistance to water and contamination. The term inrō is used both for the set of compartments itself (inrō body) and for the complete set of various elements that are used to integrate and carry the inrō.

The popularity of this "device" also stemmed from the fact that in Japan, jewelry was practically not used (except for women's hair ornaments). Since inrō was a luxury product due to its labor intensity and expensive materials, between the 17th and 19th centuries, the aristocracy, samurai, and wealthy townspeople purchased it as a sign of prestige, wealth, and also as an expression of their own sensitivity and taste for art.

Inrō is small, averaging from 7 to 10 cm in height, 5 to 6 cm in width, and about 2 cm in depth. It usually has the shape of a rectangular parallelepiped, although other forms are found (circle, oval, pyramid, cube, and much more intricate ones like a gourd, bottle, house, toy, irregular natural raw material appearance, etc.). There are also constructions deviating from the typical, such as saya inrō, inrō with drawers instead of segments, inrō using various partitions, etc. Since it is worn close to the body, hanging from the waist, it must have a relatively flat shape with rounded sides to not interfere or snag on clothing. Generally, inrō were worn by adults, but on festive occasions or other ceremonies, festively dressed children also wore inrō, hence tiny replica versions can be found that are purely decorative. Larger than standard size inrō were used by actors and sumo wrestlers.

Different types and varieties of inrō, due to their shape, construction, and materials will be discussed below. In many cases, the text refers to articles "Japanese Lacquer part 1 general data"; "Japanese Lacquer part 2 techniques"; and "Japanese Lacquer part 3 motifs", as the vast majority of inrō are decorated in lacquer techniques and the motifs and symbolism are identical for most lacquer works.

lakierniczych.

HISTORY

As Julia Hutt writes, it is worth distinguishing similar items to inrō produced before the year 1600 from those produced later. (17) The earlier items, the author calls "proto-inro." The first mentions of protoinro come from the 14th century and describe objects made of carved red lacquer composed of fitted segments. Records indicate that such containers were used, for example, to store food (later called jubako) or cosmetics. They had to be of considerable size and were carried by hand, and their layered, segmented construction linked them to later inrō.

At the same time, and actually much earlier, there was already a custom of attaching various items to the belt in the style of sagemono. It is not known exactly when, but the idea of reducing the size of the segmented proto-inro and adapting it for carrying as a small personal item—a kind of inrō-sagemono—emerged.

In the 17th century, the Japanese accepted the use of individual seals—kakihan and jitsuin, which served as a kind of signature. Inrō in Japanese means "container for a seal" (in - seal, ro - container) so it is believed that initially, in fact, seals were carried in inrō, although special boxes for the seal and ink pad existed independently (inhanko) and looked different. There were also inro containers in which small altars (zushi) or other religious items were stored.

However, over time, inrō commonly began to be used for storing medicines. In the individual segments, it was convenient to store medications for various ailments without confusion or mixing.

Undoubtedly, while the art of Japanese lacquer flourished from at least the 10th century, it only began to be used for inrō from the 16th century. And from that time, when the fashion for wearing inrō prevailed, the primary group of lacquer artists chose this medium for their creativity.

Early inrō were made using red and black lacquer and mother-of-pearl mosaics in the Chinese style. But quite quickly, inrō became a medium for artistic works. Over time, the motifs of the decorations changed. Artists moved away from Chinese patterns towards less purely decorative representations, the images became more symbolic, presented in more extravagant forms with increasing technical proficiency and an incredible variety of ideas.

From the Momoyama period (turn of the 16th and 17th centuries), inrō began among the upper and middle class to be something of a manifestation of education, culture, and ennoblement. In the later Edo (Tokugawa) era, between 1615 and 1868, the merchant class (merchants, manufacturers, service providers) gradually enriched, and since strict regulations imposed restrictions on them (such as displaying wealth in the form of buildings), the popularity of collecting art including inrō grew.

As M. and B. Jahss write at the turn of the 18th and 19th centuries, greater demand, especially from people of lesser cultural sophistication, impacted the quality. (7) Works created in haste became less meticulous, more garish, and at the same time deviated from traditional Japanese aesthetic principles. Cheaper materials were used. In the 19th century, Western interest in Japanese culture created a substantial export market. European customers lacked sufficient knowledge of Eastern aesthetics, so artisans exploited this fact by producing inrō in a repetitive and simplified manner which generally affected the quality and artistic value. At the same time, among the large quantity of inrō produced in the 18th and 19th centuries, there were exceptional and exceptionally beautiful examples. This was the time when many masters, such as Shibata Zenshin, were active.

METHOD OF CONSTRUCTION OF INRŌ

PRINCIPLE OF OPERATION AND CONSTRUCTION

Our item consists of four elements: the actual inrō, netsuke, ojime, and the cord - himo. As previously mentioned, the name inrō is used both for the set of compartments itself (inrō body, the actual inrō) and for the complete set of various elements that are used to integrate and carry the inrō.

"ACTUAL" INRŌ

The "actual" inrō (inrō body) consists of several compartments which, when assembled, typically have a standard construction and vary only slightly in shape, number of segments, and the methods of threading the cord. In other cases, with non-standard inrō, various constructions are encountered including drawers instead of compartments, special partitions, a special "frame" in the form of a sort of "packaging" (saya), and the use of atypical materials. The general, standard construction looks like the following drawing:

Each segment - dan - has protruding, slightly recessed edges at the top, which fit perfectly into cuts in the higher dan, and can be slid in without much force although they fit tightly together. The interiors of the compartments/dan are either oval or rectangular.

The ten and chiita (chi) (M. and B. Jahss refer to it as "joge") could be flat or rounded on various planes and at different angles on the outside, on the top and bottom.

The interior of each segment is small but allows a finger to be inserted to remove the hidden items or for them to fall out due to shaking.

Inro can also have various cross-sectional shapes - some of them, as seen from the top, are shown in the drawing:

Holes for the cord - himotoshi - run through all the segments and allow them to be joined together when the inrō is worn. To prevent the cord from loosening by itself, an ojime is used, which is pulled towards the inrō. The ojime blocks both ends of the cord coming out from opposite holes. Stretching the segments along the cord after releasing the ojime provides access to the desired element.

For himotoshi, three solutions are generally used. The differences, which are easy to notice, concern the way the himo cord is routed: guides in the form of a hole (tunnel) passing through all the segments of the inrō, with the shape not visible from the outside; guides in the form of a hole (tunnel) passing through all the segments of the inrō, with the shape visible from the outside; guides attached to the body of the inrō (to each dan) in the form of loops made of metal or horn.

Himo – the cord that connects the inrō was specially produced from silk braid, with varying thicknesses adapted to the size of the holes and the desired visual effect. It had to be long enough to comfortably allow the individual segments of the inrō to be spread out (about 1 - 1.5 m). The himo formed a loop, the joining of which in a knot was cleverly hidden in the hole of the netsuke (see below – netsuke). After tightening, any excess was typically formed into a knot/bow at the bottom of the inrō. The color of the cord was matched to the decorations of the inrō and depended on the taste of the artist or the customer. To prevent the inrō from falling out from behind the belt, a netsuke is mounted on the upper end of the himo above the ojime. It is a type of knob often in the form of a 'mini sculpture' or an unusual shape made from various materials among which lacquer, wood, ivory, metal, horn, or plant materials predominate.

The ambition of the creators was to harmoniously combine all the elements. The actual inrō, ojime, and netsuke displayed the same motif or were matched in terms of properties, color, shape. Of course, in many cases, the inrō presented today do not meet this condition, usually due to the parceling out of the original set and replacing some element with another, available one.

Basic Construction

Initially, lacquered leather was used in the construction of inrō. The leather was embossed on special molds, using thick cowhide for the outer layers and thinner, internal "lining," with snake skin used in exceptional cases. It was believed that leather was particularly suitable for storing medicines. Julia Hutt writes that leather inrō were of the highest quality, although "leather" examples are in the minority, as using leather was complex, troublesome, and the results were not always satisfactory.

The main materials for making standard inrō were wood or paper. Solid wood was used, processed with chisels and other tools, or thin veneers wrapped around previously prepared molds. As for paper, it was soaked in lacquer and then wrapped in several layers around a necessary mold shape.

Raymond Bushell describes in detail the steps of creating inrō based on paper (kōzo). For high-quality inrō, a paper core is used, and only the tenchi and sokoita (top, bottom, and "floors" of segments) are made of wood. The craftsman - inro-shi chooses among various wooden molds two. He decides on the shape, size, and number of sections. One mold (slightly larger) will be used for the external wall and the other (smaller) for the internal.

A layer of paper is wrapped around the molds to prevent the subsequent layers from sticking to the mold. Then, strips of paper cut to the height of the segments are soaked in lacquer (mugi urushi) and wound around the molds - smaller and larger - four or five times. This must be done very carefully without leaving gaps between the wound layers, air bubbles, etc. The molds are then left in conditions suitable for hardening the lacquer (muro cabinets) for several days. The result is something like flattened, oval tubes of larger and smaller diameter.

Meanwhile, the "floors" of the segments - sokoita and the upper and lower crowns – ten and chiita are made from thin pieces of wood (hinoki). The use of wood is intended to strengthen and stiffen the structure. The wooden elements cut to the shape of the segments are covered on both sides with layers of lacquer mixtures and lacquer itself according to the techniques described in articles about Japanese lacquer. Similarly, mixtures are applied to the paper-lacquer sections (dan) removed from the molds.

The next step is to create himotoshi - guides/tunnels for the cord that connects the inrō. A thin rod, for example, from the handle of an old brush, is wrapped with paper soaked in lacquer, resulting in a very narrow "tube." Both the dan and the himotoshi are set aside to harden in the muro.

The tasks associated with applying the mixtures alternately with drying and sanding were repeated several times according to the principles used in Japanese lacquer, with the technique of nashiji often used to finish the inner surfaces of the dan.

Himotoshi is now cut into pieces corresponding to the height of the segments - dan. Then, tenchi and sokoita are glued to the individual dan and precisely fitted together so that they slide into each other tightly yet smoothly. After precisely leveling the edges - ikkake, the corresponding segments (smaller parts with larger ones) are properly positioned in each other and bonded with glue. Then pieces of himotoshi are attached.

Depending on the selected variant (visible guides or not), the outer surface of the dan around the himotoshi is leveled. It was important to ensure that the corresponding surfaces of the ikkake matched perfectly, so that when assembled, the joint (aikuchi) was as inconspicuous as possible around the entire inrō. After perfect adjustment of the whole, the background is applied to the outer surface of the inrō using techniques as described in the article "Japanese Lacquer Part 2 Techniques." After covering the entire surface, including the aikuchi, and each layer of lacquer has dried, the individual dan are gently separated and the ikkake smoothed because, without this, they would not be separable after some time. This process is repeated after each subsequent layer of lacquer.

After preparing the background with lacquer, the item goes to the decoration artist. The decoration techniques and motifs have been described in articles on Japanese lacquer, some of which will also be the subject of further parts of the article.

Before decorating, the adjoining edges of the dan are glued together with easily removable glue or wax, to prevent materials used for decorations from penetrating into the inrō. From practice, I add that the most difficult task in this work is fitting the corresponding dan together to achieve an even and as invisible as possible aikuchi, as the slightest error or curvature causes the formation of unsightly "gaps" which are also very difficult to decorate.

Similarly (wrapping around a mold), inrō were produced from wooden veneers glued after being applied to the mold. Another variant was to drill and chisel out a hole in a solid block of wood. Another was the appropriate removal of unnecessary wood with a chisel (creating free spaces for the interior of the dan and himotoshi) in a block split vertically into two halves, which were then glued together. Internal walls were then made separately from veneers, boards, or other materials. Such works were used when it was desired to preserve the natural appearance of wood grains and the original, unaltered ten and chiita.

Non-Standard Constructions

Saya-inrō

Saya – (sheath, also used for swords). Inrō as such (inro-body) is slid/inserted into a sort of "packaging," a sleeve (saya). There can be three types of saya-inro. The first type is where the saya forms a monolithic construction and entirely "hides" the inro; the second type is where the saya acts as a sort of "frame" that reveals the front or both the front and back walls of the inrō; the third (rare) type is where the saya has walls perforated in the shape of small holes, arabesques, or other shapes, through which parts of the inrō can be seen. The saya is made similarly to the inrō from wood or paper soaked in lacquer. These materials are wrapped around a mold, which sometimes is the inrō itself. Himotoshi (channels for the cord) in this case are placed in the saya, and do not appear in the inrō itself. In the case of saya-inro, decorations are primarily made using the togidashi or hiramaki-e technique due to the fact that when sliding the inrō in and out of the saya, decorations in other techniques (relief) could be damaged.

Drawer-Type Inrō

In this case, the "compartments" are not placed one inside or above another but are designed as drawers that slide out from the side of the inrō. The side wall of the inrō is hinged/slides out, and the drawers have tiny handles made of metal or horn.

Other, less commonly encountered designs included intricate containers removed from the "packaging" vertically or from the side, as well as very unusual shapes in the form of a shell, teapot, purse, bell, bottle, animal.

NETSUKE AND OJIME

Netsuke is a separate collectible item and often a tiny work of art. The form of netsuke is varied and includes several general types as well as unusual solutions. The most valuable and well-known are netsuke that are "micro-sculptures," sometimes extremely complex and beautiful, constituting a separate object of collectors' desire. In netsuke, two holes are drilled (one slightly smaller and one larger) for attaching the himo and "hiding" the knot. Similar to netsuke, ojime could be artistically and intricately decorated, however, in most cases, it takes the form of a small "knob with a hole" made from various materials. A separate article will be dedicated to netsuke and ojime, which is why they are not discussed in this place.

DECORATIONS

Decorations on inrō utilize 90% of the techniques that are generally used for lacquerware products—described in the article "Japanese Lacquer Part 2: Techniques."

Both maki-e techniques and inlays, carving, imitations, etc., as well as the types of lacquer and mixtures, are the same. It must be said that it is precisely in inrō that the palette of ideas for techniques and motifs in lacquer art has grown incredibly. Of course, more complicated and elaborate landscapes or genre scenes are mainly suited for larger surfaces, such as boxes or screens. In inrō, themes of flora, fauna, and various figures predominate, but almost any motif imaginable can be found.

Usually, inrō were decorated on both sides, where most often both images were related or formed a continuation. Often a motif was developed onto the side and even the back wall; for example, a rat might have its head placed on the front, the body extending to the right side wall, and the tail displayed on the back wall. The internal elements of inrō (ikkake, tachigari) were most often painted with lacquer using fundame and nashiji techniques, or (if the inrō was made of wood or a similar material without a painted background) left in their original state. Rare, but extremely interesting, were cases where the inner edges were also decorated with patterns matching the overall decorative theme of the inrō.

As has been mentioned multiple times, only imagination, concept, and material properties were limitations for the creator. The body of inrō was created (besides wood, paper, and leather) from various materials: bamboo, wicker, ceramics, roots, coconut, horn, turtle shell, sharkskin (samegawa), fabrics, ivory, and even stone. Sometimes these materials were combined. A very popular technique for creating backgrounds was simulating different materials using lacquer mixed with granular materials. Metals, wood grains, fabrics, and ceramics were imitated with such skill that without detailed examinations, it was impossible to distinguish the simulation from the natural material.

EXAMPLES

Although only a small number of inrō have survived to our times, hundreds if not thousands can be found in museums and collections. I include a number of example works in the gallery on the website www.lakajaponska.pl, and interested readers can view many of them in museums, at exhibitions, and especially online. Here, I will try to show a few selected, characteristic inrō. This is not a comprehensive review nor a selection of the most outstanding works. It presents various types of inrō randomly chosen from the collections of the MET (public domain), LACMA (public domain), and with permission from the Victoria & Albert Museum

The Hatter

Author: Shibata Zeshin (1807-1891)

Description: Three-segment inrō. The background features a mirror-like roiro finish. Decorations are in takamaki-e. The hatter is depicted at work in relief, with polished gold and koban powder. Courtly headgear known as eboshi were worn by medieval aristocrats. They were a sign of prestige and rank. The hatter's kimono is adorned with gold lacquer and tiny pieces of shell cut into the shape of what appears to be a crest - mon. On the other side of the inrō, the hatter's wife is shown speaking to her husband. The interior of the dan is in the nashiji technique, edges in the fundame technique. Ojime made of agate. Netsuke made of ivory by Shounsai - a sculpture of a swordsman forging a weapon. Dimensions: Inrō 6.5 x 4.6 x 1.7 cm; Ojime 1.1 x 1.2 cm; Netsuke 3.4 x 3.7 x 2.1 cm

Origin: Raymond and Frances Bushell Collection, LACMA Museum

Standing Deer

Author: Ogata Kōrin or his student

Description: Gold lacquer fundame with inlays of mother-of-pearl and a tin-lead alloy. Thickly cut aogai shell plates, typical for Kōrin's works. The silhouettes of the deer are simplified, outlined sketchily and symbolically. 18th century. Dimensions: 5.3 x 4.9 x 1.9 cm

Origin: gift Rogers Fund, MET Museum

Fleeing Demon

Author: style of Shibata Zeshin

Description: Gold, silver, red, and black hiramaki-e, takamaki-e, inlay of shell on a bamboo base; Inside are wooden drawers. The image depicts a demon fleeing from roasted black beans—a theme derived from Japanese folklore and mythology. The technique, color scheme, and symbolism make this object unique. Dimensions: (7.2 x 4 x 1.8 cm)

Origin: Rogers Fund, 1913; MET

Sasaki Takatsuna and the Uji River

Author: Kajikawa School, Knjiwara Kagesue and Sasaki Takatsuna

Description: Black, gold, silver, and red lacquer. Shishiai makie. Both sides of this inro are based on a two-page spread from the book Ehon oshukubai (Pictures of Famous Poets, Birds, and Flowers), illustrated by Tachibana Morikuni and published in 1740. The design depicts a historical event from 1184 at the Uji River. The characters Sasaki Takatsuna and Kajiwara Kagesue wanted to be the first to cross the river and engage the enemy in combat. Takatsuna deceived Kagesue by suggesting that his horse's harness was loose. Sasaki Takatsuna is shown on the back of a horse wading in the water, while Kajiwara Kagesue on the other bank stops to check his girth straps. Dimensions: (9.6 x 6.5 x 3.2 cm)

Origin: V&A Museum

Silk Reel Against the Milky Way

Author: Kyukoku

Description: Mother-of-pearl and recessed gold lacquer. The motifs on inro often reflect a specific festival or season. This one likely relates to Tanabata (The Weaver Festival), which is celebrated on the seventh day of the seventh month. The festival commemorates the annual meeting of the Weaver Princess Star and the Herdsman Star. According to legend, the princess and the herdsman fell in love and were allowed to marry. However, they soon began to neglect their duties and were separated on opposite sides of the Milky Way. They were allowed to meet just once a year on Tanabata. The inro is decorated with a silk reel and symbolically shows the Milky Way. Dimensions: (9.8 x 6.9 x 2.0 cm)

Origin: V&A Museum

Crab

Author: Tachibana Gyokuzan

Description: Red, gold, and black lacquer. From the mid-18th century, artisans increasingly sought creative and ingenious ways to utilize the small and limited dimensions of inro. One method to achieve this was to continue the design from one side to the other. In this inro, the body of the crab is displayed on the main side, while its antennae stretch over the top and sides, cleverly drawing the viewer's eye. The crab is crafted in the takamaki-e technique, but the image simulates as if the lacquer were carved in the tsuishu technique. 19th century. Dimensions: (7.4 x 7.6 x 3.1 cm)

Origin: Pfungst Gift, V&A Museum

Inrō Shaped Like a House

Author: unknown

Description: Two segments, wood with gold and silver lacquer takamaki-e, hiramaki-e, togidashi, cut gold foil, against a background of black lacquer. 18th/19th century. The image depicts a house-residence with the top part of the inrō (ten) shaped like a thatched roof. Dimensions: (5.7 x 4.8 x 1.5 cm)

Origin: LACMA Museum

Ariwara no Narihira

Author: Shiomi Masanari

Description: A five-segment inrō featuring an image of Ariwara no Narihira (a courtier and famous poet from the Heian period) atop Mount Fuji. On a black lacquer base, with gold lacquer and togidashi technique using colorful dyes (gold, green, red, and purple). 19th century. Dimensions: (8.3 x 5.2 cm)

Origin: Gift of Miss Bella Mabury, LACMA Museum

Geisha and Her Guests

Author: Koma Kyuhaku

Description: Silver, black, and gold lacquer in togidashi technique. This inrō depicts a geisha and her banquet guests enjoying themselves, shown as silhouettes through shoji (sliding paper doors). This design can be compared to a ukiyo-e triptych by Kikugawa Eizan (1787 - 1867). However, due to the size and shape, the composition has been modified by completely omitting the original foreground figures and rearranging those in the background. 19th century. Dimensions: (6.7 x 6.5 x 2.1 cm)

Origin: Pfungst Gift, V&A Museum

Hares and Horsetail

Author: unknown

Description: Inrō in the form of two overlapping inrō, gold and black lacquer, waterside landscape, hare, and reeds. Most inrō are rectangular, with gently curved sides. Sometimes the entire shape is modeled after another object. In this particularly unusual example, the creator carved the inrō in the form of two overlapping inrō. The sections still open and close with precision. The surface is divided into two distinct halves. A diagonal zigzag line separates and contrasts the half with gold lacquer from the half in black. 18th/19th century. Dimensions: (7.3 x 5.8 x 3.0 cm)

Origin: Salting Bequest, V&A Museum

Landscape

Author: unknown

Description: Carved red lacquer in the tsuishu technique. Buildings surrounding a residence, mountains in the background, and a river in the foreground. Dimensions: 7.8 × 5.5 × 2.6 cm

Origin: Gift of Miss Bella Mabury, MET Museum

Fukurokuju

Author: Kōgyokusai

Description: Gold lacquer takamakie on a gold kinji background with metal inlays. Fukurokuju – one of the seven gods of fortune, traveling on his messenger – a swan. Dimensions: 8.5 × 5.8 × 2 cm

Origin: Gift of Miss Bella Mabury, V&A Museum

Rabbit in Moonlight and Autumn Grasses

Author: Kyūkoku

Description: Saya inro (inro with a sheath - a container in the shape of a sleeve). Gold, silver lacquer, and a tin-lead alloy, hiramaki-e. Saya in red lacquer, decorated with togidashi-e. 19th century. Dimensions: 8.5 x 4.7 x 2.8 cm

Origin: Gift of Mrs. George A. Crocker (Elizabeth Masten), V&A Museum

Inrō in the Shape of a Circle with a Tiger at a Watering Hole Against a Background of Rocks and Pine

Author: unknown

Description: Three segments, wood lacquered with gold and silver lacquer using togidashimaki-e, hiramaki-e, takamaki-e techniques, and cut gold foil, on a black background. Early 19th century. Dimensions: 6.4 x 6.4 x 2.4 cm

Origin: Rogers Fund, V&A Museum

Chrysanthemums by the Stream

Author: unknown

Description: Decorations in gold lacquer using hiramaki-e and takamaki-e techniques. An example of using many different gradations of gold powder. 19th century. Dimensions: 8.4 x 5.8 x 2.5 cm

Origin: Rogers Fund, 1913, MET Museum

Fisherman, Boat, Reeds, Nets

Author: Tsuchiya Yasuchika

Description: Gold nashiji lacquer, hiramaki-e, takamaki-e, tin-lead alloy, inlay of mother-of-pearl and metal. 19th century. Dimensions: 6.8 x 5.8 x 2 cm

Origin: The Howard Mansfield Collection, Purchase, Rogers Fund, MET Museum

Gibbons and Landscape

Author: design by Kano Sukekiyo, executed by Hasegawa Kyorinsai

Description: Five-segment, crafted in a technique that imitates ink painting – sumi-e (togikirimaki-e) on a gold background. 19th century. Dimensions: 8.4 x 5.5 x 1.9 cm

Origin: The Howard Mansfield Collection, Purchase, Rogers Fund, MET Museum

Spring Ferns, Field Horsetails, and a Deer

Author: Ogawa Haritsu (Ritsuō)

Description: Ceramic, mother-of-pearl, tin-lead alloy, on a brown lacquer background. An interesting depiction of horsetail, repeated by other artists and inlaid with shell, and generally an innovative image typical for Ritsuō. 18th century. Dimensions: 7.5 x 5.4 x 2.3 cm

Origin: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, MET Museum

Fox from the Kyōgen Play (Tsurigitsune) and a Haystack by the River

Author: Shibata Zeshin

Description: Gold and red lacquer on raw wood in the takamaki-e technique. In this story, a hunter is visited by his uncle Hakuzōsu, who advises his nephew about the evil of killing foxes. However, it turns out that it was not his uncle at all, but a fox in disguise. The fox that returns to its original form is captured. 19th century. Dimensions: 5.72 x 6.99 x 2.54 cm

Origin: Gift Bequests, and Funds from various donors, by exchange

Waterfall and Turtles

Author: unknown

Description: Fundame lacquer, decorations in gold, silver, and brown lacquer, hiramaki-e, cut gold foil – kirigane. 19th century. Dimensions: 9.1 x 4.7 x 2.8 cm

Origin: Rogers Fund, MET Museum

ARTISTS

Among the large number of inrō created over 300 years, most are anonymous works. Assigning an artifact to a creator and a date of production is quite complicated. Assessing authorship of a work requires extensive knowledge and experience. Dating a work depends on its appearance, place of origin, materials and techniques used, decorative motifs, inscriptions, descriptions in various sources, etc. Clues can include signs of usage, symbolism characteristic of a particular period, and the colors used.

Some inrō can be attributed to specific individuals by using the mei (signature) placed on the inrō. However, the custom of signing works emerged relatively late and the signatures were often imprecise. The later the period, the more frequently artists placed their markings. Some engraved or painted their signatures, while others only included patterns of their seal. Additionally, such markings sometimes did not specify a particular creator but only a family surname, and the same artist could have several different names. Often, the design was the work of someone other than the lacquerer, and sometimes students’ works were signed by the master. The master’s name was also used by his students and followers. Archaic kanji characters were used and inscriptions became illegible over time. There are also various forgeries.

The problem with establishing authorship also arises from the fact that in a given family or lacquering school, successive generations used the same surnames. Therefore, when evaluating inrō, one must consider many different factors: artistic value, style, materials and techniques used, the artist’s biography, historical context, etc. Signatures included clan designation, family surname, given names, nicknames, seal impressions or their reproductions. Additionally, the signature sometimes included extra data regarding, for example, the client, owner, dedications, etc. Apart from mei, sources of information about artists include records in various documents or studies, catalogs, and certificates. Assessments by specialized art critics and historians can also be relied upon

SURNAMES OF THE MOST DISTINGUISHED CREATORS AND SCHOOL NAMES

Despite difficulties in determining them, the surnames of the most distinguished creators and the names of schools are available in specialized publications. U.A. Casal notes over 600 inrō signatures, stating that the list is incomplete. The list cited by M. and B. Jahss includes over 1,000 surnames, some of which span multiple generations within the same family, such as the Koami family (Koami I, Koami II, Koami III, Koami IV, etc.).

The most famous and meritorious artists are included and briefly described in the "Gallery" section on the website lakajaponska.pl. On Wikipedia and other internet portals, you can often find much more information about their biographies and creative work.

Here, I only present an alphabetical list of some of the most important creators and schools/families, whose names are worth remembering:

Gyokusai, Gyokuzan, Hanzan, Hasegawa, Hidetsugu, Hoitsu, Homin, Igarashi, Jigoemon, Joi, Jokasai, Kajikawa, Kenzan, Koami, Koetsu, Koma, Korin, Masanari, Ritsuo, Shibayama, Shoami, Shokasai, Shomin, Shosai, Shunsho, Soetsu, Somada, Tatsuke, Toyo, Yosei, Yoyusai, Zenshin.

Today, as far as I know, inrō is not produced, except by a few hobbyists or experimenters (for example, artist Kitamura Tatsuo and his students from the Unryuan workshop create beautiful inrō among other lacquerware items contemporarily). This is due to the lack of any practical use and the decline of the old craft. Lacquer has not completely disappeared, and useful items made of Japanese lacquer such as boxes, writing utensils, chopsticks, and jewelry are still produced, though they rarely have the character of a work of art. Nonetheless, inrō and its elements are only collectible antiques

HOW TO DISTINGUISH OUTSTANDING WORKS FROM THE REST?

A high-quality work should demonstrate technical precision, originality, delicacy of finish, charm of concept, excellence of the background, and subtlety and clarity of the design.

Image Layout. Since a standard inrō, simplistically speaking, has 6 surfaces, the concept of the image can be planned just on the front (rarely), on both the front and the back (usually the two representations are thematically or stylistically composed together), or on the front, back, and side or top and bottom panels (often the image continues smoothly from one panel to another). Typically, the main theme/message is placed on the front panel. How the back and other panels are planned speaks to the quality of the work and its thoughtful construction. Sometimes, the construction of the inrō itself is subordinate to the proposed decorations.

Technical proficiency is as important as the concept itself. An example can be seen in the depiction of leaves. In inferior works, lines are uneven, lack delicacy, are blurred, merge together, and do not accurately represent the nature of the subject. Of course, "precision" in drawing does not always indicate its value; the composition and the idea for the decorations are what matter, as demonstrated by most of Korin’s works.

Aesthetics of theme and form. A good inrō features clever, wisely planned, and imaginative decorations. The use of perspective shortcuts and the placement of key elements allow for the proper conveyance of the composition's meaning. Overloading with details or failing to adjust the image to the small surface can create unaesthetic impressions. Even the most technically perfect skills are insufficient to create a valuable work.

Using high-quality materials, particularly lacquer and gold of the appropriate type and gradation, requires great care, precision, and time. To cut costs, some lacquerers simplified the process by using various additives to accelerate the hardening of the lacquer, using wood that was not seasoned long enough, and employing impoverished methods and techniques. Over time, such products would crack, delaminate, warp, etc. High-quality inrō maintains its properties for many years. Knowing the materials and techniques used by a specific artist can also be a clue in distinguishing original works from forgeries and may even allow for attributing a work to its creator, even when there is no signature or other markings.

Dating an inrō can be helpful. If there are no clues in the form of signatures or certificates, one can rely on the style, motifs, techniques, materials used, and the overall appearance of the inrō. For example, inlays of tin and lead represent older techniques while decorations with dyed ivory or the use of contrasting, unusual colors for lacquer are relatively new. A slight dulling to a roiro finish and turning to a brownish hue can indicate age, as can wear or minor damage from use. If it is possible to look inside the inrō, one can assess the care of the finishes and the degree of natural wear, although this is not the main determinant of quality.

As noted above, thoughtful and beautiful designs encompass all elements of an inrō. Typically, the netsuke and ojime were made by a different artist than the one who decorated the inrō, yet in good examples, all elements were interconnected and formed a harmonious whole. However, it should be noted that some specimens nowadays may not meet this condition due to disassembly and replacement, such as replacing the original netsuke with another.

In conclusion, when evaluating the class of an inrō, like other works of art, several factors must be considered: the artistic value of the decoration idea in accordance with the principles of Japanese aesthetics and historical context, as well as the quality of execution and materials used. Distinguishing high-quality inrō from lesser ones requires a combination of technical knowledge, historical context, and personal aesthetics. It is a nuanced process, and developing an eye for these unique works can be challenging. Undoubtedly, knowledge of Japanese culture, tradition, aesthetics, and art can help. I realize that the subject is very niche and knowledge requires time and research, so I hope that such a brief overview contained in this article will help interested parties and bring me satisfaction from popularizing the topic.

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