of gourds. Signed: Gyokuso. 271
193. Netsuke and detail. Mushroom, snail, and ants. Signed: Gambun. 272
194. Netsuke. Impressionistic bird. Signed with kakihan of Mitsuhiro. 272
195. Detail of figure netsuke. Oni. Unsigned. 273
196. Netsuke. Woman picking fleas from kimono. Signed: Tokoku. 273
197. Netsuke. Mask of Okame. Signed: Shoun. 273
198. Pair of netsuke. Vendors blowing gluten. Signed: Kyokusai. 274
199. Inro. Shoki and oni. Signed: Nagaharu (Joi). 274
200. Inro (two views). Sansukumi (snake, snail, and frog). Signed: Jokasai. 275
201. Inro. Pine branches. Unsigned. 276
202. Inro (tobacco-box shape). Bird and young ferns. Signed: Zeshin. 276
203. Inro. Peony and leaves. Signed: Kajikawa Toshihide. 277
204. Inro. Buddhist emblems: lotus flower and scepter. Signed: Ritsuo. 277
205. Kogo. Plum blossoms. Signed: Shuran. 278
206. Inro. Ants on oak leaves. Signed: Hasegawa. 278
207. Inro. Plovers. Signed: Toyo. 279
208. Inro. Badger. Signed: Kozan (Shohosai). 279
209. Inro. The Blind Men and the Elephant. Signed: Toyo. 280
210. Inro. Horses and stream. Signed: Hasegawa Shigeyoshi. 280
211. Inro (tobacco-box shape). Snake attacking a crane. Signed: Koma Kansai. 281
212. Inro. Rat on a rice bag. Signed: Jokasai. 281
213. Inro and netsuke. Tiger in bamboo grove. Signed: Koma Kansai. 282
214. Inro. Carp ascending a waterfall. Signed: Toju. 282
*215. Inro. Maple leaves. Signed: Koma Yasutada. 369
*216. Inro. Mandarin duck. Signed: Toyo. 370
*217. Inro. Owl. Signed with seal of Ritsuo. 370
*218. Inro. Fish swimming in a stream. Signed: Shiomi Masanari. 371
*219. Inro. Peacock feathers. Signed: Shosai. 371
*220. Inro. Phoenix. Signed: Koami Nagataka. 372
*221. Inro. Bamboo and rock. Signed: Hokkyo Komin. 373
*222. Inro. Bamboo, rock, and stream. Signed: Koma Kyuhaku Yasuaki. 373
*223. Inro. Plum blossoms and moon. Signed: Yoyusai and Hoitsu. 374
*224. Inro (opposite side of inro in Fig. 136). 374
*225. Inro. Noh dancer portraying a shojo. Signed: Jugyoku. 375
*226. Inro. Coastal scene. Signed: Hasegawa Shigeyoshi. 375
*227.Inro. Gate of the Yoshiwara. Signed: Yoyusai. 376
*228. Inro. Night scene. Signed: Koma Koryu. 376
229. Inro (two views). Book: Genji Monogatari. Signed: Jokasai. 377
230. Inro. Dragon and waves. Signed: Sukenaga. 378
231. Inro. Crow on tree trunk. Signed: Koma Kansai. 378
232. Inro and detail. Two men playing game of shogi. Signed: Koma Koryu. 379
233. Inro. Copy of painting by Kakando Ganku depicting wading birds. Unsigned. 379
234. Inro. Tekkai sennin. Unsigned. 380
235. Inro. Character for longevity. Signed: Takamasu (Tatsuke). 380
236. Inro. "Thousand-monkey" design. Unsigned. 381
237. Side views of inro in Fig. 217, illustrating Buddhist symbols. 381
238. Inro (opposite side of inro in Fig. 165). Tomoe and two phoenixes. 382
239. Detail of inro, showing combined signatures of metal artist Ishiguro Masatsune and lacquer artist Koma Kyuhaku. 382
240. Kogo. Hagi (bush clover) leaves. Unsigned. 382
241. Inro. Landscape. Signed: Koma Kansai. 383
242. Inro. Maple leaves. Signed: Yoyusai. 383
243. Detail of inro in Fig. 222, showing signature of Koma Kyuhaku Yasuaki and certification by his grandson. 384
244. Inro. Sparrows in bamboo grove. Unsigned. 384
245. Authentication on box for lacquer tray by Zeshin. 384
WHEN JAPAN FINALLY OPENED HER DOORS TO THE OUTSIDE world in the mid-19th century, there emerged one of the most skillful, exquisite, and remarkable art forms ever developed by any country: that of Japanese lacquer. Today, it is startling to discover that what we now consider as avant-garde in modern art—such as abstraction, impressionism, and collage—had already been perfected by Japanese lacquer artists over 300 years ago.
Japanese art is best known for its superb craftsmanship as expressed through its three forms of miniature art, each created in a different medium. The first form and by far the most popular in the Western world is the netsuke. This is essentially a tiny sculptured wood or ivory figure. These exquisite carvings were made by a specialized class of artisans, a handful of whom are still carving to this very day. The second medium is that of miniature metal art, best expressed in sword ornamentation, such as the sword guard (tsuba) or knife handle (kozuka). This art form was also done by very specialized artists who unfortunately no longer exist because of the ban on wearing swords since 1877. The third medium equally prized by the Japanese is that of miniature lacquer art, also created by specialized artists. It should be noted that Oriental lacquer is not in the Western sense a chemically prepared varnish but is a natural product which comes from the sap of a tree. The lacquer is applied in numerous layers, and its beautiful gloss is only obtained through endless polishings. Furthermore, the magnificent designs are accomplished through painstaking applications of layers of repeated dustings of fine metallic and colored powders onto the tacky lacquered surfaces. The art of lacquering has also fallen into disuse because of the decreased demand, as well as the expense and extreme length of time necessary for its production.
Japanese lacquer work represents the acme of artistry as well as of technical craftsmanship. Such artistry embodies the Japanese sense of aesthetic and decorative design in a colorful graphic form, while the craftsmanship is expressed through the use of an extremely difficult medium in which to work. Thus while lacquer art was originally adopted from China, even the adept Chinese craftsmen were unable to copy the high, Japanese development of this medium.
Among the lacquered objects, the miniature
