Japanese Art 19


famous specialist sculptors. Netsuke production blossomed in specific towns and cities, whose style subtly varied. For instance after the centre of government had been moved from Kyoto to Edo in 1603, making it Japan’s principal city with a sophisticated urban population, naturally Edo attracted many skilled craftsmen. And as a ‘new’ creative centre, departing from the ancient artistic traditions of Kyoto, the city’s crafts tended to be more original, sometimes daringly so, and also exhibited more humour than other centres of production. Te other main cities producing netsuke continued to be Kyoto and also Osaka, the buzzing commercial centre creating its own lively genre. Tose carved in Kyoto netsuke were characterised by a softer,


more


restrained quality and realistic style, particularly evident in their animal carvings, in which they excelled. Ohara Mitsuhiro and Kaigokusai Masatugu, both prolific makers much in demand, were active in Osaka in the 19th century.


Mitsuhiro


celebrated in ivory a 6th-century Indian monk, who was credited as being the founder of the Zen sect of Buddhism. Te squat figure of the monk,


Daruma, stands hugely


yawning, having just emerged from nine years in deep meditation. Another netsuke, this time from Edo, by Kikugawa, depicts a courtesan who disguised herself as Daruma. Just as the monk meditated for nine years attempting to achieve enlightenment, female sex workers of the Edo period spent ten years of indenture to excel in their profession. Partly as a result of abundant supplies of local materials,


other


regional cities and castle towns began carving netsuke, in addition to the


they had depicted Chinese and South Sea Island people as well as those from


further afield. Western


foreigners also became an intriguing object of curiosity. Dutch merchants were the only Europeans permitted to live in Japan and became an idiosyncratic


subject for netsuke


carvers. Tey were portrayed with specific characteristics such as large noses, light or red coloured curly hair, and naturally – different clothes and footwear. Southeast Asian servants, who also caught the eye of netsuke makers,


as


Inro in five segments, maki-e lacquer, with rice stacks and birds, mark of Kajikawa, Japan, late 18th century. Courtesy Museum of East Asian Art


famous centres of production. Tese included Nagoya, Hida, Iwami, Tanba and Hakata. Netsuke could be created in almost


any form whether mythical or commonplace. However, there are six major categories – the human form, immortals, ghosts and supernatural creatures, masks, animals and manju, the latter resembling in shape the round rice-cakes referred to in a later category. Around the middle of the 19th century Japan changed radically, mirrored in the production of netsuke, particularly in its subject matter. Te government’s policy of isolation, which had lasted for centuries, ended with the arrival


Commodore Mathew Perry with a distinctly


persuasive Black Ships, ‘requesting’ the


establishment of trade relations with Japan. And so the Treaty of Kanagawa was duly signed in 1854. Depicting the human form in netsuke,


its


makers echoed the curiosity of urban Japanese about foreigners. Historically


of the American squadron


of they were often


accompanied Dutch merchants. Women were usually portrayed in a


naturalistic, often flattering way, but in the Immortal category a netsuke of Okame yawning has puffed-up cheeks, a flat nose and dressed only in a skirt,


donated to shrines to gain the favour of the deities. A netsuke of a grazing horse is highly polished and smooth, contrasting with its flowing mane carved in high relief. Its shape forms an elegant oval, which has a practical sartorial function,


preventing the


Seven Noh Mask netsuke, Japan, 19th century. Courtesy Museum of East Asian Art


very uncharacteristic of


Japanese women. But she was a favourite subject, reputed to represent the Shinto deity, Ama no uzume, the goddess of mirth and good humour. However, an ivory mermaid is beautiful; her long hair framing her delicately engraved face. Te third category of netsuke subject matter, ghosts and the supernatural played a significant role in Japanese consciousness during the Edo period, though they had always had a place in national folklore. A really moving, tragic netsuke depicts Ubume, the ghost of a woman who died in childbirth, who cannot find peace, because she worries about her baby. Her face is agonised, with swollen eyelids. One breast is exposed over desperately sunken ribs, and her legs are tapered at the end, since Japanese ghosts have no feet. During the Edo period theatre was


very popular across a broad spectrum of this hierarchical society. Masks, the fourth category of netsuke, which


were often demonic, were a common feature of many performances. A frightening Kyoto mask, carved of Japanese cypress with lacquered eyes dilated with anger, conjures up the violent power of a Buddhist Guardian King, a Nio. But his mouth is open, his lips forming the sound of Om, the primordial vibration from which the entire universe emanates. In complete contrast, a netsuke of a


plump, lovable puppy epitomises a gentle, soft aspect of the fifth category of netsuke – animals. Its innocent, endearing charm is none the less exquisitely technically conveyed by the technique of a famous netsuke maker from Osaka, Kaigyokusai Masatsugu. Te puppy is finely carved in high quality ivory so that its silky fur, high relief little whiskers and limpid eyes, which are double-inlaid with coral and dark horn, appeal directly to our emotions. As in so many other societies across the world,


and honoured


faithful companions, but also, in the case of Japanese horses, were actually considered as objects of worship. In ancient history, they were sometimes


netsuke from slipping through the sash of the kimono. Horses and dogs are two of the animals of the East Asian zodiac calendar, or junishi, and a popular source of inspiration for netsuke makers. And it is worth noting here that all classes of Japanese society used netsuke and sagemono, as they did the calendar. Te last category of netsuke subject matter is manju, named after sweet rice-cakes, or bean cakes. As they are round and because of their shape are capable of being intricately carved, extremely detailed and elaborate, so they are well suited to echoing pictorial scenes, often inspired by the contemporary ukiyo-e images of the Floating World prints and paintings. Netsuke still continue to be carved. Kishi Isshu created an amazing ivory sculpture of a group of 15 Noh masks, all with different expressions, around 1975; and in the late 1900s Kawahara Meishu sculpted a dynamic evocation of a rhinoceros beetle. Netsuke are considered to be an art form in their own right, prized by international collectors as the miniature masterpieces they are.


horses, like dogs, have been loved, admired


historically and today, as man’s


• Dressed to Impress, until 22 April, at the Museum of East Asian Art , Bath, meaa.org • Te catalogue Netsuke 100 Miniature Masterpieces from Japan by Noriko Tsuchiya, ISBN 9780714124810


Tea Bowls: Art of the Five Senses


Contemporary Japanese Tea Ceremony Wares In celebration of Ippodo Gallery NY’s 10th anniversary


March 15 - April 7, 2018 Opening Reception : March 15, 6 - 8 p.m.


12 E. 86th St., # 507, New York, NY 10028 T. 212-967-4899 　mail@ippodogallery.com　www.ippodogallery.com


MARCH 2018 ASIAN ART


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