netsuke by top contemporary carvers are sought by a small group of enthusiastic buyers all over the world, and some collectors are specializing in the work of individual carvers. Perhaps more than in any other Japanese art form, contemporary netsuke remain true to the old tradition in subject matter, material, and craftsmanship. There is, however, an originality and freshness in design that delights collectors, as well as tourists who may buy one or two as symbolic mementos of Japan.
CHAPTER 2
Contemporary Netsuke
EVALUATION
Comparisons may be odious, but they are inevitable when evaluating netsuke. In the following explanation of comparative areas in the quality of contemporary and antique netsuke, it must be understood that, unless otherwise noted, only first-class netsuke are considered. These are all issaku netsuke, executed completely by one person—the design, the rough carving, the final work, and any color, stain, or inlay that may be added. The cheaper, mass-produced work is called bungyo, or division work, with the rough carving (arabori) being done by one person and the final work (shiage) by at least one other—all from a design furnished by the “manufacturer," dealer, or agent.
Quality might be defined as “the natural or essential character of something'' as well as “degree or grade of excellence.” Basically, the evaluation of netsuke involves quality of design and subject matter, material, and workmanship.
DESIGN AND SUBJECT MATTER
Design has been said to be the soul of netsuke, but in the eighteenth century, as the use of netsuke spread to all classes and these small carvings began to be regarded as status symbols, excellence of material and workmanship grew in importance.
The early artist-carver was forced by the functional nature of the netsuke to observe certain restrictions in design. Since it passed between the obi and the hip, the netsuke had to be small and rounded, without sharp edges or jutting points that could catch in the kimono material. Its form must not be damaged by the friction involved in its use. Actually, this rubbing often developed a patina (aji) that helps in the authentication of an antique netsuke and adds to its beauty. The netsuke had to be sturdy enough to support the hanging object by the cord passing through it. The cord holes (himotoshi) were made on the side to be worn next to the body so as not to detract from the design on the front. Even the early functional netsuke, however, were so designed and carved that they were complete in every detail on all sides and usually could stand with perfect balance when not being worn.
The netsuke being produced today have no functional restrictions in design. A protruding cane, a lacy leaf or flower, or sharp stylized lines are no longer precluded and often lend a charm and freshness to the design. However, the netsuke purist may say, “This is not a netsuke. It is a piece of miniature sculpture. It hasn't the feeling of a netsuke.” This is an ongoing argument among collectors. Contemporary netsuke carvers also differ on this point. The majority of them adhere to the old fundamental concept in design. Their netsuke are smooth and rounded and have a “good feeling." Others take advantage of the freedom from functional restrictions and produce what actually is sculpture in miniature, or a diminutive okimono, sometimes not even adding the himotoshi, long the hallmark of a netsuke.
Subject matter will be discussed at greater length in another chapter. In general, however, today's netsuke, like the antique examples, draw from the natural world of flowers, insects, and animals, as well as the vast reservoir of Japanese folklore, history, literature, religion, theater, customs, and social life. Perhaps because of the taste of Western collectors, many animal subjects are found among contemporary netsuke (Figs. 4-23, 25, 26). The legendary figures in contemporary netsuke tend to be somewhat more representational than the exaggerated versions—“grotesqueries," as they are sometimes called—so often found among antique netsuke.
Occasionally a contemporary netsuke bordering on the abstract can be found. “Stylized” might be a more accurate description of this type, or “netsuke with deformations," to use an expression of one of the contemporary carvers (Figs. 26-28). Stylized or abstract, they remain distinctly Japanese.
Although color on wood goes back to the early netsuke of Shuzan (mid-eighteenth century), extensive use of color on ivory began in the twentieth century with Ichiro, who, like many Japanese craftsmen and artists in various fields, was trained as a painter. The general use of color and stain in the netsuke being produced today adds a decorative and vital touch that accentuates the design and helps to bring the little figures to life.
When viewing representative collections of first-rate antique and contemporary netsuke, a person unfamiliar with netsuke art usually remarks that the contemporary netsuke figures seem happier, more pleasing, and less strained and distorted than most antique figures. Some of the carvers today explain this difference by pointing out that in earlier days the carvers were members of the lowest social class. During the Edo and Meiji periods, they felt unhappy and oppressed, and their struggles were often reflected in their art. Today, there is no class distinction. First-rank carvers are beginning to receive recognition for their work, and life in general for the carver and his family is fuller and happier. And undoubtedly the fact that amateur collectors are usually more attracted to pleasing, beautiful netsuke has also had an influence on the basic design attributes of contemporary netsuke figures.
With a lower standard of living as well as lower living costs, carvers of old found that time was of little value. Often months were spent by a carver in producing a masterpiece. Today, because of economic demands and the pressure of unfilled dealers' orders, there is usually a time limitation on the contemporary carver. He feels that this is compensated for by the opportunity he has to develop his talent through study and through the exchange of ideas and techniques. The carvers of antique netsuke often had their own special techniques or workmanship devices, which were closely guarded secrets. This is no longer true. Today there are few, if any, secrets in the techniques of netsuke carving and coloring.
A greater variety of subjects and materials is to be found in antique netsuke than in the contemporary pieces, largely because there are comparatively few first-rate netsuke being produced today. No area of design has been neglected, however, and a specialized collector can always find his own particular subject preference in contemporary netsuke.
Pages from Hokusai's sketchbooks and others, as well as crumpled and worn sketches done by a teacher or a teacher's teacher, can be found in the work-rooms of many contemporary carvers. Bookshelves contain volumes on Japanese history and religion, the Noh and the Kabuki dramas, folklore, and legend. An unspoken commitment seems to exist among living artist-carvers to preserve the netsuke as an art form that unlocks the treasures of the whole gamut of Japanese life and culture.
MATERIALS
When decorative, carved netsuke became accessories of attire early in the seventeenth century, the material generally used was wood: cypress (hinoki), which was soft; boxwood (tsuge), a very hard wood used for more detailed, intricate carving; and many other varieties, including bamboo, yew, black persimmon, mulberry, tea shrub, cherry, and pine. Some carvers also selected Chinese ebony, camphor, and other imported woods.
Ivory was first used by netsuke carvers during the latter part of the seven-teenth century, when the shamisen became a popular musical instrument among all classes. Its plectrum was made of ivory, and after the plectrum material had been taken from the elephant tusk, the remnants were made available to netsuke carvers. The fact that these pieces were three-sided accounts for the somewhat triangular shape of many of the netsuke of that period. The better carvers shunned these remnants from the shamisen factories and used only the finest quality of ivory (tokata), preferring Siamese and Annamese tusks. Although elephant ivory was the first choice, netsuke carvers also used boar and hippopotamus tusks as well as those of the narwhal and the walrus, often called marine ivories. A highly prized but very rare type of ivory, reddish orange
