reasures

The Art of Netsuke Carving

/ ih

m .~*

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Japanese lreasures

The Art of Netsuke Carving

in the Toledo Museum of Art

Carolyn M. Putney
I [RSI I nil ION
/\cl<tio\\'lotlc>mo nh
2000 I Ik- Toledo Museum ol \it

All Rights Reserved. The enthusiasm, dedication, and vision of three people

1 xcepi toi legitimate excerpts customary in review or scholarly publica- inspired this exhibition and catalogue: Kurt T. Luckner,
tions, no p.irt ol this hook may he reproduced by any means without the former director David W. Steadman, and Richard R.
express written permission ot the publisher.
Silverman. Kurt and Richard took great care to make seeing
All the objects tenured in this book are in the collection ot the Toledo the entire collection of netsuke possible for our visitors,
Museum ot Art. Black-and-white photographs, color transparencies, color
while David was responsible for planting the idea of
slides, and digitized images are available.
creating this show.
ISBN 0-9.^1 "2-08-4
I would like to thank all of the marvelous donors who
Printed in the United States ot America. All rights reserved under
International and Pan-American Copyright Conventions. contributed to making the exhibition a reality, including
Mrs. Edward A. Kern, Mr. and Mrs. Robert L. Huebner,
Dr. Samuel Karr, Dorothy Zurheide, Richard R. Silverman
I he loledo Museum ot Art

2-t-n Monroi Street

and Robert F. Phillips. I owe a huge debt of gratitude to the

P.O.Box 1013 Museum Director, Roger M. Berkowitz, who eased many

Toledo. Ohio 43697-1013 burdens in facilitating and supporting the creation of both
Telephone (419) 255-8000
this book and the exhibition. I also thank the many
Fax(419)2SSo63-S
F.mail publications^' toledomuseum.org members of the incredible staff of The Toledo Museum of
Art who have made possible the preparation and execution
Project Supervisor: Sandra E. Knudsen
Toledo Museum Photographs: Tim Thayer, Oak Park, Michigan of both book and exhibition. In particular, acknowledge I

Designer: Rochelle R. Slosser the following Museum personnel: Todd Ahrens, Jeff Boyer,
Composition: Adobe Garamond. Futura Claude Fixler, Angie Hyatt, Betsy Kelsey, Sandra E.
Printed on Gloss Text by Superior Printing, Waren, Ohio
Knudsen, Lee Mooney, Anne O. Morris, Lawrence W.
Front Cover: Reclining rabbit in a kimono, signed by Masanao ot Kyoto,
Nichols, Mary Plouffe, Karen Serota, Rochelle Slosser,
1950.1~1 (cat. no. 8).
Davira S. Taragin, Judy Weinberg, Patricia J. Whitesides,
Title Page: Warrior and helmet, unsigned, 2000. (cat. no. 34).
and my own staff, including Kathy Gee, Julia Habrecht,
Page 4: Reverse ot manju with reishi, including the signature of Nicole Rivette, and volunteer Mizuho Saito. Finally, a huge
Kokusai, 1948.1 18 (cat. no. 43).
debt of gratitude goes to my primary editor, Richard H.
Page 6: Kunisada Kochoro (1786-1864), "Takano Tama River at
Putney, and editors Sandra E. Knudsen, Timothy A. Motz,
Kinokuni Province and famous Kabuki Actor, Kinokuniya Tossho,"
and Richard R. Silverman, all of whom helped refine and
detail. From the series Six Famous Kabuki Actors and Six Famous Tama
Rivers, 1835. Woodblock print, h. 15 '/, in. (38.7 cm). Gift of Richard R. shape this catalogue. It is hoped that by showcasing this
Silverman. 1991.82. little-known part of the Toledo Museum collections, a

Page 12: Hokusai Katsushika (1760-1849), "Gentleman at Rest," detail. better understanding of this remarkable art form and of the
From Yehon Tzuzoku Sangoku-shi, vol. 7. Woodblock print, h. 8 s
/»in. culture that demanded its creation, will inform and excite
Gift of Noble Kreider, 1 944. 1 0.
our audiences.
Page 16: Manju with pine bark and leaves, 1948.124 (cat. no. 37).
This book is dedicated to my wonderful mother and my
Page 20: Kappa ryusa, 1948.126 (cat. no. 16).
dear husband, who through their love and encouragement
Page 46: Detail of Raiden, 1948.140 (cat. no. 15).
made me believe I could do anything I set out to do.

Carolyn M. Putney, Associate Curator ofAsian Art

c ontents
2 Acknowledgments 21 Catalogue

4 A Pronunciation Guide 21 Religious Figures, cat. nos. 1-13

5 Preface 27 Legendary Figures, cat. nos. 14-24

Chapter 1 : What are Netsuke? 33 Genre, cat. nos. 25-35

13 Chapter 2: Netsuke-A Variety of Types 38 Nature, cat. nos. 36-43

17 Chapter 3: Materials, Artists, and their Techniques 42 Theater, cat. nos. 44-46

44 Foreigners, cat. nos. 47-50

46 Selected Bibliography

47 List of Netsuke by Accession Number

48 index
AR renunciation Ouid
Pronouncing Japanese is not difficult if you follow
this easy guide.

The vowels, a, e, i, o, and u are pronounced as they

are in most Romance languages (especially Italian).

a as in father
e as in bet

i as in machine
o as in only
u as in assume

Two vowels together (diphthongs) are usually

pronounced as follows:

ei as in reign

ai as in aisle

In spoken Japanese, vowels are often omitted or slurred,

so netsuke is pronounced "net-skeh."

Most consonants are pronounced as they are in English,

Reverse of cat. no. 43.

with a few exceptions. G is always hard as in "get." R is

pronounced closer to the sound of L. N can sometimes

sound like NG, except at the beginning of a word. All
syllables are stressed equally.

Courtesy of Richard R. Silverman

 3)
f
re lace

Personal adornment can be the mosi innovative, sophisticated, and University. Mr. Silverman has eommitted Ins life to teaching,

extravagant ol the .ins. rhe people ol |apan created souk- ol the writing, and lecturing on the arts ol |apan. He began collecting
while residing lot sixteen years in |apan and is a member <>l the
most opulent personal accessories during the Edo Period (1615-
board of directors ol the International Netsuke Society. His
1868) in order to .ut.ii.li pouches and purses to their cl.ilior.itc silk
devotion to the Toledo Museum ol Art includes not only gills <>l
clothing. |apanese artists invented the iiiini.iturc sculptures known
rate glass netsuke (e.g.. cat. no. 24) and other Japanese decorative
.is nctsukc .is Listeners to serve this fashion impulse among the
arts hut also the generous sharing ot his knowledgeol this
luxury-loving citizens ol the urban centers ol seventeenth- and specialized field. With this exhibition, we are particularly pleased
eighteenth-century fapan. I he [apanese have collected netsuke for to he able to announce his most recent gilt to the Museum, an
centuries, and since the late nineteenth century, western collectors extraordinary two-part, early nineteenth-century netsuke of a

and museums have ardently sought these tiny treasures ot wit, warrior wearing a helmet (eat. no. 34). Mr. Silverman has also
helped edit this catalogue; lor that, and all his support of this
whimsy, and craftsmanship.
exhibition, we are deeply grateful.
The Toledo Museum is fortunate to have an excellent collection
In 1990 our entire collection ol netsuke, inro, and ojime was
ot netsuke. The first example was received in 1926 from W. P.

installed for visitor enjoyment and study in the Asian art gallery
Baker (cat. no. 36). Since that time, three remarkable donors have
by Kurt T. I.uckncr, curator ot ancient art. with the expert
substantially created our collection, which now totals more than
250 netsuke (plus 94 inro and 91 ojime), 50 ot which
assistance ot Richard Silverman and Carolyn Putney. Visitor
are
response to this appealing display encouraged additional talks and
showcased in this book.
programs, culminating in the proposal that an exhibition feature
• Noah Swayne and his wife were instriinient.il in expanding
II.
our masterpieces and include materials to provide some social and
the Museum's netsuke holdings. Mr. Swayne (1847-1922) was a
historical context. The Museum is indebted to Carolyn M. Putney
prominent Toledo lawyer and civic leader and the son ol a United
States Supreme Court justice. His wile Frances donated 23 of
for conceiving and developing the exhibition Japanese Treasures:

their netsuke to the Museum in 928 and 1929, works most likely
I
The Art of Netsuke Carving in The Toledo Museum of Art (April 18—
acquired during their several trips to |apan. June 1 1, 2000). Several institutions and individuals kindly loaned

• Harry Fee, a successful member ot the Adrian. Michigan, business

objects: the Cleveland Museum ol Art, Obcrlin College, and a
community, vastly expanded the collection with important gifts in the private collector from New England. The exhibition was made-
late 1940s and early 1950s. Mr. lee (1868-1955), with his father. possible by a grant Irom the l.ila Wallace-Reader's Digest T'und
puhlisher ot the Adrian Daily Times, started the Adrian Electric 1 igln Museum Collections Accessibility Initiative at The Toledo Museum
and I'ower Works in 1890. He retired in 1938 as manager of the ot Art. Additional support was provided by Mrs. Kdward A. Kern
Commercial Savings Bank ot Adrian. A noted philanthropist, he and Mr. and Mrs. Robert L Huebner.
rounded Hidden ake Cardens in Mii.liig.ins Irish Hills. Assembling
I

a large collection ot Asian art. most ot it acquired during annual Publication ot this book, which captures and shares the delights
vacations in California, he donated a significant body ot works to the ot the exhibition, was made possible by a gilt from Mr. and Mrs.
Museum that included Chinese ceramics and lapanese lacquei as well Robert L Huebner. with the assistance of the Andrew W. Mellon
as many netsuke. ojime. and inro. foundation. We hope that focusing on this choice but little known
• In recent vcars. the generous donations of Richard R. Silverman, part ol the "Toledo Museum ol Art collection will promote both
one ot the most prominent collectors ol netsuke in the world, have understanding and enjoyment ol this intimate art lorni and the
significantly increased the size and quality ot our collection of sophisticated culture that created it.

lapanese art. A native ot Toledo and a graduate of Kraiulcis

Roger M. Berkowitz, Director
What are Netsuke?

invented the miniature

Japanese artists cleverly listorical background: I
he t,do leriod
sculptures known as netsuke to serve a very practical
(unction. Traditional Japanese garments — robes Although experts cannot determine the precise date when
called kosode and kimono — had no pockets (see ills. pp. 6 netsuke were first used with any precision, the time in

and 9). Men who wore them needed a place to keep Japanese history that witnessed the highest demand for

personal belongings such as pipes, tobacco, money, seals, or their production was the Edo Period (161 5-1868). Many
medicines. The elegant solution was to place such objects in aspects of this important era fed the Japanese demand for

containers (called sagemono) hung by cords from the robes' elegant luxury goods, including netsuke.
sash. The containers might take the form of a pouch or a
"Edo" was the name of the capital city of Japan established
small woven basket, but the most popular were beautifully
by warlords of the Tokugawa family in the early 1600s (see
crafted boxes (inro), which were held shut by ojime, sliding
map Today we know Edo as Tokyo, which remains
p. 8).
beads on cords. Whatever the form of the container, the
the center of government. Prior to the founding of the new
fastener that secured its cord at the top of the sash was a
capital, Japanese society was led by emperors residing in the
carved, button-like toggle called a netsuke (see ills. pp. 8 city of Kyoto; however, their power had paled compared
and 19 for two matching sets of inro, ojime, and netsuke).
to that of the feudal warlords known as shogun. The latter
Such objects, often of great artistic merit, have a long
were heads of powerful military families who, from the
history reflecting important aspects of Japanese life.
twelfth century onward, became the effective rulers of
This introductory chapter outlines the historical forces that Japan. Struggling to expand their power, they weakened the
gave rise to the Japanese tradition for netsuke, and briefly authority of the emperors, who became rulers in name only.

examines the social context in which they functioned. The emergence of Edo seventeenth
Just before the in the early
second chapter describes major types of netsuke. The third
century, Japan suffered from ongoing, devastating warfare
focuses on the artists who made netsuke and their working
between powerful military families. The most powerful of
methods and materials. Finally, a brief catalogue examines these clans was the Tokugawa, whose shogun was Tokugawa
fifty of the finest examples of netsuke currently owned by leyasu (1 543-1616). (A note to the reader: Japanese family
the Toledo Museum of Art.
names are written first, their given names last; therefore
Tokugawa was the family name of the individual named
 Ieyasu.) Between 1603 and 1615, he ended the chaos
of civil war by subduing his rivals, reunifying most or
the country, and setting up his new administrative
HOKKAIDO
capital in Edo. As the residence of the emperor and his
imperial court, Kyoto remained steeped in tradition; as
the real center of power, Edo soon began to rival the

old capital in terms of cultural achievement, and far

surpassed it economically.

Tokvo (Edo)
1 he Japanese L lass !>yste m
Shifting patterns of wealth, a rise in urbanism, and new
trends in artistic production accompanied the emergence of
Osaka upon
Edo. Traditional Japan had a class system, based the
ideas of the Chinese philosopher Confucius. At the summit
(y/SHIKOKU of the social organization was the emperor and his extended
KYUSHU family; below them came the very powerful warrior class of
Nagasaki
samurai, composed of the shogun of Japan, his feudal lords
(daimyo), and other feudal retainers. Wealth was based
upon the holding of land. The lords were given huge
estates, collecting their large income in the form of rice

produced by farmers (no), who formed the next level down

on the social scale. The lowest, called chonin, was com-
posed of artisans and merchants; the latter were considered
the lowest class because they did not produce any tangible
products useful to society. (Ordinary workers, called eta,

were considered to be outside of the class system entirely.)

Although these social divisions remained in place through-

out the Edo Period, merchants stood at the center of the

new economic expansion. Their increased wealth, com-
bined with several other social trends, was to change the
face of Japanese society and expand the range and quantity
of artistic production.

Nctsukc-ojimc-inro set with monkeys holding peaches; see cat. no. 17

 I lie Rise o\ the C ity ol udo
Before the city of Edo was established, art had been totally

controlled by the emperor's court, the shogun, and the

religious communities. The rapid growth and commercial-
ism of the new capital city plus the absence of the imperial
court, made art popular and available to all levels of society.
Men and women of all classes became interested in art

forms such as painting, calligraphy (which in Japan was

closely related to painting), music, and games of skill such

as archery. Indeed, personal enjoyment of the arts became

a main pursuit of society in Edo and other urban centers.

The artistic contrasts between the two cities were already

quite apparent in the seventeenth century. Kyoto remained
traditional and conservative, and the luxurious art forms
created there were based on Japan's literary and artistic
past. Tastes in Edo were much more forward-looking and
modern by comparison, and innovation in art was much
admired. By the eighteenth century, Edo was the artistic

center of Japan, creating works related to the pursuits of

its newly rich and growing class of chonin.

An important reason for Edo's rapid growth was the

shogun's law, passed in 1634, of sankin kotai. This law
required the feudal lords — daimyo— to set up large homes
in Edo as well as to maintain the estates in the countryside
that were their seats of power. This system was devised to Kimono (Meiji Period, 1880-1900). Painted silk, h. 66 in. (168 cm).
keep the feudal lords from accumulating wealth and power © Oberlin, Ohio, Oberlin College, Allen Memorial Art Museum AMAM
that might be used to oppose the central government from 1969.72. (Photo: John Seyfried, 1999.)

afar. When the daimyo visited their country estates, their

families were required to stay in the city as virtual hostages.

The many servants and vassals required to serve the families

of the lords, but who were forced to leave their own

families in the countryside, served only to fuel the desire
for pleasure-seeking activities in the city. Areas in each city

were set aside as "pleasure quarters," which had theaters,

shops, restaurants, and geisha houses (see ills. pp. 10 and

1 1). Geisha were professional female dancers, singers, and
entertainers. The establishments they worked for ranged
from the most elegant places of entertainment to houses
of prostitution.
 through the port city of Nagasaki on Deshima Island.
Foreign traders, especially Chinese and Dutch, brought
goods and materials necessary to the Japanese economy;
imports included materials such as ivory used for the
production of netsuke. Traditionally, much of Japan's
aristocratic culture had been based on that of China. Thus,
the maintenance of trade with China kept Japanese artists

and craftsman in touch with Chinese myth, folklore, and

imagery, which they incorporated into their own work.

Ukiyo-e: 1 he Lure of the Moating Worlcl

All these social changes led to an urban life focused on the
pleasures of the moment. Surprisingly, the new attitude had
roots in Japanese religious traditions. Ancient Buddhism
had referred to the illusory nature of material experience as
Citizens of Edo watching an outdoor drama. Detail, festival scenes: pair of ukiyo-e, which literally means "pictures of the floating
six-fold screens. Matabei School, Edo Period (1615—1868). Ink and color
world." This term refers to the Buddhist concepts that the
on gold ground paper, h. 20 >/-> in. (51.5 cm); w. 82 1/4 in. (208.9 cm).
world is only an illusion and that life is just a transient state
© Cleveland, Ohio, The Cleveland Museum of Art; The Kelvin Smith
Collection, given by Mrs. Kelvin Smith 1985-.279.1-.2 that lasts for a moment. In the Edo Period, this spiritual
notion of transience was transformed into a more secular
one. In eighteenth- and nineteenth-century Edo society,

Another factor that contributed to the explosion of city people in such urban centers as Edo, Kyoto, Osaka, and
life in Japan during the Edo Period was the connecting of Nagasaki actively pursued luxury and the "illusory"
the four major urban centers by highways and waterways. pleasures of the senses provided by the arts. Paintings,

New roads linked each of the cities to the rural areas of woodblock prints, and the decorative arts, all associated

Japan and to each other; this promoted more efficient with the new meaning of ukiyo-e, were in high demand
inter-regional trade and helped break down the old feudal among collectors (see ill. p. 12). People no longer wanted
ways of life. In the cities, wider ranges of information, a reminders of the traditional past but instead wanted images
vast variety of goods, and leisure pastimes became available of their lively surroundings, favorite actors and entertainers,
to all classes of society, not just the elite. and popular scenic tourist spots (see ill. p. 6).

Connections to lands beyond Japanese shores also fed In sum, Edo Japan was characterized by a population that
the remarkable flourishing of the arts in Edo Japan. In was increasingly literate and wealthy and that had more
the 1630s, the shogun prohibited Japanese citizens from leisure time on its hands. Never before had so many citizens

traveling abroad. In spite of this enforced seclusion of the participated in social and cultural activities. These included

population, contact with the outside world was maintained the popular form of theater, Kabuki; festivals celebrating
nature and folk traditions; painting and poetry parties; and
tea ceremonies. Even the eta, those outside of and below
the class system, could enjoy the pleasure quarters of
Japanese cities. Edos affluent merchants and artisans
(the chonin) became urban sophisticates, whose ambition
was to perfect the art of living well. This group was among
the wealthiest in the country, but its members remained
officially in the lowest and least privileged class. Having
no political power, they expressed themselves by disobeying
the government's sumptuary laws, which prohibited the
spending of huge sums of money on food and luxury
items such as silk garments.

fashion as jtatus
?' '' ''

In spite of official disapproval, fashion was a supreme

measure of status and taste in the cities. Wealthy men
spent fortunes on their clothes and those of their wives.
The textiles created for these citizens are among the most
Men visiting the pleasure quarters. Detail, festival scenes: pair of six-fold
spectacular ever made. Men generally wore more subdued screens. Matabei School, Edo Period (1615-1868). Ink and color on gold
patterns than did women, but they could further display ground paper, h. 20 'A, in. (51.5 cm); w. 82 >/-. in. (208.9 cm). ©
Cleveland, Ohio, The Cleveland Museum of Art; The Kelvin Smith
their taste through the choice of elegant accessories such
Collection, given by Mrs. Kelvin Smith 1985-.279. 1-.2
as inro and netsuke, which they suspended from beautiful
sashes (see ills. pp. 6 and 18). A rich gentleman owned
many of these garments and accessories, some appropriate
to the season or the occasion, some simply for conspicuous
display. Thus, every major urban center supported a
number of lacquer makers and netsuke carvers who
specialized in the production of the fashionable
accessories that are the subject of this catalogue.

Tlu- d tscovery ol Netsuke in the West

In 1853/54, Commodore Matthew Perry visited Japan
with an American fleet and opened the country to foreign
visitors. Within a generation, western influence led many
Japanese to abandon traditional dress, resulting in decreas-
ing demand for the production of netsuke. However,
westerners found the miniature sculptures fascinating
in themselves; they loved the satire and humor, so much
a part of the Japanese national character and so often
found in the carvers art. Individuals and museums began
to acquire netsuke, sometimes with inro and ojime,
sometimes without, a collecting tradition that continues.

11
 *•**

>
 —

J Netsuke^/\ Variety 01 lypes

The word netsuke literally means "root

(ne = "root" and tsuke = "to fasten").
fastener"
The
Many
beautiful
elements went into the design of a netsuke that was
and functioned well. It was most important that
compound word, first found in Japanese texts of it have no projecting parts that could break off or snag the
the seventeenth century, hints at the origins of these objects costly fabric of a kimono. (This rule did not apply to many
as simple organic fasteners. Found objects such as a gourds, later nineteenth-century netsuke; produced as independent
shells, or twigs were attached to the end of a cord, whose works of art rather than to be worn, they could have more
other end was attached to a sagemono, or suspended object. complex profiles with protruding parts.) Other require-
In order to secure the hanging object, the wearer slipped ments for a successful netsuke were to have a side that

the netsuke upward between the garment and its outer could lie flat against the sash and to be balanced so as not

sash, allowing the netsuke to hang over the top of the sash to hang in an awkward position. Intended for handling
(see ill. p. 6). The sagemono could be a tobacco pouch, a by its owner, a good example should have an appealing feel

money purse, or the object that became most typical, an as well as a pleasing appearance. Displaying a netsuke to
inro. Usually, inro were lacquered boxes with multiple business acquaintances and friends
— "showing it off"
compartments used to hold seals, herbs, and medicines. was sometimes just as important to an owner as the actual

No one knows exactly when these containers came into function of the miniature sculpture.
common use, but some scholars believe that netsuke were The carving of netsuke became a highly refined craft
used to secure an object to a sash as early as the fifteenth
among the artists who specialized in creating these minia-
century. From relatively primitive beginnings, netsuke
works of art. Categorized by their form and decora-
ture
developed into a significant art form. By the Edo Period
tion, netsuke generally fall into the eight types illustrated
(1615-1868), fashionable gentlemen began to collect these
on the following pages.
accessories, which were made into elegant sets composed
of netsuke, sliding bead fasteners called ojime, and inro
(see ills. pp. 8 and 19).

13
 Ma nju Kyusa
Probably the earliest type of netsuke, the manju is a carved, This type is round like the manju but not solid. Instead,
solid, round fastener named after a type of sweet rice bun it has designs cut entirely through the netsuke to form
of similar form. The silk cord that attached this type of openwork patterns, making it appear delicate and lace-like.
netsuke to the inro is fastened by means of a metal ring on The name derives from that of the artist, active in the
the top of the netsuke or by a hole punched through its 1780s, who invented this type. (Ryusa with bamboo and
back. (Manju with a Kabuki player. 19th century. Lacquer, chrysanthemums. 19th century. Ivory and silver; d. 17
/i6 in.

copper, gold, and silver; d. 1 Vs in. [4.1 cm]. Unsigned. [3.7 cm]. Unsigned. Gift of H. A. Fee; 1950.80.)
Gift of H. A. Fee; 1948.129.)

Jxagatnibuta JXatab
atabori

The round, "mirror-lidded" kagamibuta is a variation on The most popular type of netsuke — generally considered
the manju,named for its resemblance to a type of Japanese the finest as well — is the small, three-dimensional carving
mirror. A metal lid, often elaborately carved, tops a shallow, called katabori, which means, "carved tooth." The fastening
carved and undecorated bowl. The knot of the cord is cord usually runs through two holes, called himotoshi,
hidden in the hollow interior of the netsuke. (Kagamibuta which were located so that the carving could be shown to

with a bridge scene. Edo Period (1615-1868). Ivory and its best advantage. (Katabori of a sennin. Mid 19th century.
metal; d. 2 in. [5.1 cm]. Unsigned. Gift of H. A. Fee; Boxwood; h. 3 9
/i6 in. [9.0 cm]. Unsigned. Gift of H. A.
1950.103.) Fee; 1948.173.)

14
 bashi Mask
This type of netsuke is an elongated form of katabori. The Netsuke in the form of masks are usually miniature copies

sashi is longer in order to tuck part of it into the sash, thus of those worn in the forms of the Japanese theater: Noh,
giving better support and balance to a suspended object of Bugaku, Gigaku, and Kyogen. Many mask netsuke were
some weight. The holes (himotoshi) are located at one end created in Edo because of the wild popularity of the theater
of the object so that the cord will not interfere with the there. (Mask of Ranryo, a mythical Chinese prince in
function of the netsuke. (Shoki, a mythical Chinese hero, ancient Bugaku court and temple dances, who was assured
fighting an Oni, a nasty Buddhist devil. 1 8th— 1 9rh century. of winning battles if he wore this ferocious mask. Late 19th
Ivory; h. 3 l5
/i« in. [10 cm]. Unsigned. Gift of H. A. Fee; century. Boxwood; h. 2 in. [5.1 cm]. Unsigned. Gift of
1950.146.) H. A. Fee; 1948.183.)

Trick iaL

[rick netsuke have movable parts or hidden devices to Made in the shape of a lidded box, hako netsuke are often
delight and surprise. This netsuke appears to be a kaki, carved out of lacquered wood, with inlays of a variety of
a type of persimmon, but it opens to reveal a minute materials. (Hako decorated with tatebina dolls. 19th
ivory carving of Benten, the goddess of learning, music, century. Lacquer, inlaid with shell and gold foil; h. 1 '/s in.

and speech, seated under a pine tree. (Persimmon with [3.5 cm]. Unsigned. Gift of H. A. Fee; 1952.47.)
concealed figure of Benten. 19th century. Sandalwood
and ivory; h. 1 '/, in. [3.1 cm]. Signed: Kagetoshi.
Gift of H. A. Fee; 1950.130.)
N c -• V- -
/Vlaterials/ /\rtists/ and their lech niques

Nersuke artists (netsuke-shi) usually carved their (cat. nos. 35 and 40). The Toledo Museum of Art has
creations out of wood or ivory. They used several examples of another seldom-used material, glass

woods indigenous to Japan, including cypress, (cat. no. 24). Also used but unusual were such novelty
boxwood, cherry, ebony, bamboo, and sandalwood. As materials as dried seeds, fruit pits, nuts, semi-precious
ivory is not native to Japan, it had to be imported at great stones, animal bones, and even bird skulls.

expense, primarily through China. Even when Japan was

closed to the outside world from the seventeenth through /\rtists/ /xrtisans/ ana Workshops
nineteenth centuries, Chinese merchants were allowed to
The first carvers of netsuke are anonymous, but it is
import ivory into Japan because of the high demand.
generally thought that they may have been woodcarvers
Artisans also exploited substitutes such as marine ivory
whose normal work was the production of small Buddhist
or walrus tusk.
shrines for individuals, or ivory carvers who made signature
Artists sometimes used other materials. Stag antler seems seals. Japanese metalworkers may also have been important
unusual, but there was a plentiful supply from Japanese in the early production of netsuke. Although they focused
deer (see cat. no. 43). It is considered one of the most on the making of swords, in times of peace they often
difficult materials to use and is highly prized when carved turned to work, like netsuke, that was more decorative.
well. Lacquered wood was popular, although it was more The first Japanese text to mention netsuke carvers by
often used to make inro. Lacquer is the clear sap from the name is the Soken Kisho, a book of 1781 dealing with
lac tree which, when dry, resembles the appearance and swords and their accessories. Written by Inaba Tsuryu, a
durability of modern acrylic; layer upon layer of lacquer sword merchant and dealer in antiques from Osaka, the
could be built up, so that after it dried it could even be book lists fifty-seven carvers, most from the major urban
carved to create a very pleasing surface. Artists could also centers of Osaka, Kyoto, and Edo, but also a few from
add color to lacquer, or even precious metals such as gold or smaller provincial towns. Unfortunately, few signed works
silver for spectacular effects. Netsuke-shi could also enhance by the artists named in the book have been identified; this
wood, ivory, or lacquer netsuke by applying inlays of fact leads to the assumption that not many eighteenth-
mother-of-pearl, horn, brass or other metals, glass, or coral. century netsuke-shi signed their pieces. An important
Occasionally, netsuke can be found fabricated entirely of reason was that it was considered very poor etiquette for

metal. A rather rare material used was porcelain, with most an artist to sign a work made for the emperor, a shogun,
examples made in the nineteenth century at the Hirado or a daimyo. However, the signing of works apparently was

kilns on the southern Japanese island of Kyushu more common in the nineteenth and twentieth centuries.
 What is certain is that once an artist established himself as
a competent craftsman, he set up a workshop, usually in

conjunction with members of his own family. Such

establishments often functioned for several generations.
The Japanese class system encouraged this practice, because
once a person was born into the artisan class, it was almost
impossible to rise into another class. Artisans, who were
usually men, tended to train their sons in the same occupa-
tion, thus passing it on from one generation to the next.

Occasionally, artists expanded their workshops into schools,

training students from outside their families in the carving
of netsuke. Whether inside a family or not, the social and
stylistic relationships of master and pupil were very strong.
A master sometimes allowed outstanding pupils the honor
name on
of using his a finished product, and a master's

name was sometimes inscribed on any piece from his

workshop. Also, workshops or schools sometimes imitated
the style of a revered master carver of the past. While the
copying of a work of a master by a pupil was not considered
a dishonest practice, some carvers produced forgeries of

great artists' works; thus, special care must be taken in the

attribution of netsuke to specific masters. All these practices

make certain identification of a particular artist's work very

difficult. Today, even when we know the name of a specific

artist, we rarely know details of his biography.

Possibly the most famous netsuke carver whose name is

known and who is represented in the Toledo Museum of

Art collection is the eighteenth-century artist Masanao of
Kyoto (cat. no. 8). He is one of the artists listed in the
Soken Kisho, where it reads simply: "Masanao from the
capital Kyoto. He is skillful at carving ivory, wood, and
other materials. He deserves high praise and recognition."
We know virtually nothing else about him save the remark-
able works signed by him or attributed to him by modern
experts. However, his reputation for excellence is reflected
Harunorni (1718-1780), "Two women and a man," detail. Back of Shoji
partition (modern reproduction). Woodblock print, h. 1 1 i/n in. (lift of in the adoption of the name Masanao by a long line of
H.A. Fee. 1953.162/71. netsuke carvers stretching from his own day to the present.

Indeed, the craftsmanship of the Masanao workshop of

today is considered as fine as that of its namesake.

18
 Today netsuke are still produced as art objects In .i

lools and lechniquc

numbei ol [apanese craftsmen. However, some artisans

The typical methods tor creating netsuke involved the from Lngland, America, Australia, New Zealand, and

carving ot raw materials such as wood or ivory, hach artisan l.astern Kurope have taken up this fine traditional craft.

created and used his own set ot tools, an assortment ot (In the 1990s there were forty-four members ot the
metal scrapers and thills. Putting all his energy into his International Netsuke ( iarvers Association. The older

work, the carver generally sal on the floor to keep his artist-members, such as Bishu, were (apanese; interestingly,

arms ami hands as tree as possible. nearly all the members under the age of forty were
westerners.) Still able to delight the senses, netsuke retain
Usually taking a month or two to make a netsuke, a good
powerful associations with the fascinating traditions of a
artist went to great lengths to create an inspirational one.
magnificent Asian society.
The process often began with the production ot many
preliminary sketches. Many specialized techniques were

used by skilled nctsuke-shi in executing the design.

Kngraving was necessary to add details to hair or to make
inscriptions on a piece. Inlaying was often used to create

eves or patterns on a robe. Staining and painting were

employed to add color to ivory or wood. Lacquering, as

noted, was a very highly valued skill, and many compli-

cated processes were necessary to create lacquer netsuke.
linallv, metalwork was sometimes used in making netsuke,
particularly the kagamibuta type, with its "mirror" or metal
lid made ot special allows.

In the 1 do Period, it was rare tor a netsuke carver to make

a good income, even tor the most gifted artists. Living a

meager existence subject to incessant demands, the artist

received little public sympathy tor the rigors ot his work.

As with many western artists ot the nineteenth century, tame
came to the nctsuke-shi only atter death. A case in point is

one ot the most famous artists represented in the Museum

collection, Kokusai, who also signed his pieces as Koku (cat.

nos. 16 and 43). Working in the second half of the nine-

teenth century, his real name was Ozaki Soyo. At age
twenty-one, he entered the school of the master carver
Gyokuyosai Mitsuhina, where he studied ivory carving for

tour years. As a master himself, he specialized in carving

Chinese-inspired motifs out of stag antler. In spite of his
reputation tor designing and fabricating extraordinary Netsuke-ojime-inro sei featuring Raiden, the thundet god; see cat no. 15.

netsuke, he did not enjoy a lucrative livelihood. Instead,

he became a professional comedian in order to pay for
the education of his son Ozaki Koyo, who became a

great novelist.

19
 —

1 Emma-O yz
Mid 19th century
Wood and ivory; h. I '/. in. (3.2 cm) Q
Unsigned
Bequest of Noah U. Swayne, 1922; 1927.1 17 Sj

Some Japanese Buddhists believed that after death the soul

left this world and wandered through the next, which
included a heavenly realm and several forms of hell. Along
the way, the soul encountered stopping places where it was
examined by various judges. Emma-O, the king of the
underworld, was a much-feared judge who handed out
punishments to sinful souls. In this work, Emma-O is

shown boating on a lotus leaf, a Buddhist symbol of purity,

with his book of judgment. A demon paddles the king
along the stream Sanzu-no-Kawa, or "River of Three
Choices." The choices refer to three possible destinations
for the soul: hell, a return to earth as a beast, or continued
wandering between heaven and hell as a homeless ghost.

2 Fukurokuju and a Chinese boy

19th century
Ivory; h. 1 '7h, in. (4.0 cm)
Signed: Masakazu
Gift of H. A. Fee; 1952.46

Fukurokuju is one of the Seven Gods of Good Fortune.

Derived from the religions of Buddhism, Shinto, and
Taoism, this group of immortals was established in Japanese
popular belief toward the end of the 1 6th century.
Fukurokuju brings fortune, wealth, and longevity to those

who worship him. In his earthly life, he was Chinese

a scholar and wise man associated with the Taoist religion.

In this image, he is immediately recognizable by his long,

high-domed head and extremely short legs. He is shown

with a Chinese boy, a reference both to his teaching and
country of origin. Fukurokuju is also depicted on the
matching inro flying on a white crane, his constant
companion, which symbolizes long life.

21
3 Wandering briar

Early 20th century

Ivory; h. 1 '/: in. (3.8 cm)
Unsigned
Bequest of" Noah H. Swayne, 1922; 1927.1 14

This friar may be a member of the yamabushi, a group of

itinerant Buddhist priests who as early as the eighth century
went to the farthest reaches of Japan in order to spread the

word or Buddha. They are given credit for drawing the

earliest maps or Japan. He wears a wide woven straw hat to
protect against wind and rain and holds a sake bottle in one
hand and a scroll in the other. However, a similar netsuke
in the collection of the Victoria and Albert Museum in

London is identified simply as a sake seller. This type of

netsuke is often called a trick netsuke because of the
moveable tongue in the mans mouth.

4 Kinko Sennin on a carp

1 9th century
Ivory; h. 1 Vir, in. (3.3 cm)
Unsigned
Gift of H. A. Fee; 1948.144

The Chinese nature-based religion called Taoism was

brought to Japan as early as the sixth century. Mountain
wise men, known as sennin in Japan, were common
subjects for the netsuke carver. This sennin is probably
Kinko, who lived beside a river and was a painter offish.
One day a giant carp offered to take him for a ride into the

realm of the immortals. He returned after a month, telling

his followers never to kill another fish. He then jumped
into the river, where he was transformed into a carp
himself. Kinko is usually shown reading aTaoist scroll

while riding on the back of the magical fish.

5 Gama Scnnin with two toads

1 9th century
Ivory; h. 3 /* in. (9.8 cm)
Attributed to Masaka
Gift ofH. A. Fee; 1948.162

I his Taoist sage, named Kokensei, is known as (lama

(meaning toad) Sennit] because he is always shown with
one or two toads. Even without the animal attributes, he-

can be identified as a sennit) by the leaf apron he wears.

There are several folk legends that explain his connection
to toads. Some claim that Kokensei could turn into a toad
at will, while others relate that the sage once cured a toad
and toads followed him ever after.

6 Manju netsuke with Ryu Sennin

Early 1 9th century

is
Ivory; d. 1 /k> in. (4.9 cm.)
Signed: Gyoku
Gift of H. A. Fee; 1948.156

One of the many magical powers attributed to Ryu

(Ryu means dragon) Sennin was the ability to conjure up
a dragon in his rice bowl. Dragons could dwell either in
the sky or the sea and could carry individuals between
heaven and earth, so the ability of the sennin to create
a dragon was very impressive.

23
7 Sleeping Hotei

Late 19th century

Wood, ivory, and silver; h. 1 in. (2.5 cm)
Signed: Hoshu
Gift of H. A. Fee; 1948.166

One of the most popular of the Seven Gods of Good

Fortune is Hotei, the god of happiness. His origins can
be traced back to a Ghinese Buddhist priest of the sixth
century, but he became wildly popular in Japan. His happy
round face, large stomach, and treasure bag, which often
contains items of good fortune, help identify Hotei.
Ghinese children usually accompany him as well.

8 Reclining rabbit in a kimono

Late 18th century
Ivory and amber; w. 2 Vu, in. (5.5 cm)
Signed: Masanao of Kyoto
Gift of H. A. Fee; 1950.171

This is a rare image of a clothed animal by one of the best

netsuke-shi of all time, the very famous Kyoto carver
Masanao. While the rabbit is a familiar subject of artists
and the fourth animal of the Zodiac, rabbits and hares are

usually not shown in robes. The fact that this rabbit wears
a monk's kimono leads one to believe that this is a represen-

tation of a character from the Choju Giga (Frolicking

Animals) scrolls of the twelfth century. The scrolls were the
work of Buddhist monks who made fun of their fellow
clerics by portraying them as animals as they went about
their daily activities and The art of ink caricatures
rituals.

was revived in the Edo period and cartoons, or manga,

became a favorite genre for painters and netsuke-shi alike.
9 Seated Daruma
1 9th century
Ivory; h. 1 7i6 in. (3.6 cm)
Signed: Masanao (inscribed)
Gift of H. A. Fee; 1950.167

The original Daruma, also known as Bodhidharma, was

the founder of Zen Buddhism. He was said to be an Indian

prince who converted to Buddhism in the sixth century
and then became a missionary to China, where he founded
his religious order. He sat in meditation for nine years to
draw attention to the Zen sect, and he withstood various
hardships, like losing the use of his legs and cutting off his
eyelids in order not to fall asleep. By the time this legend
came to Japan, he had become rather a comic figure and is

often shown in an irreverent manner. While this netsuke

bears the signature of the famous carver Kyoto Masanao,
another carver, without using the hallmark oval reserve
around the name that would make it genuine, inscribed it.

10 Daikoku and Hotei as wrestlers

Early 19th century

Boxwood; h. 2 *U in. (7.0 cm)
Unsigned
Gift of H. A. Fee; 1950.135

Two of the Seven Gods of Good Fortune, Daikoku and

Hotei, gods of wealth and happiness, are both of Buddhist
origin. The unusual cap identifies the top figure as

Daikoku. The gods are placed in a contemporary context

as two sumo wrestlers, a humorous touch that was quite
common practice for netsuke-shi in the Fdo Period.

25
 1 1 Gama Scnnin on a large toad

Mid 19th century

Ivon-; h. 1 'Vk, in. (4.9 cm)
Unsigned
Gift of H. A. Fee; 1950.143

Each or theTaoist immortals, called sennin, has a

distinctive attribute. Gama's companion, the toad,

always identifies Gama Sennin. This netsuke is unusual
because the sennin holds large peach in his hand, the
attribute usually associated with a different sennin,
Seiobo, whose peach tree bore fruit that granted
eternal life.

12 Three monkeys
Late 19th century
Boxwood with inlaid tortoise shell eyes; h. 1 l
U in. (3.2 cm)
Unsigned
Bequest of Noah H. Swayne, 1922; 1928.155

Sambiki-saru, the three Buddhist monkeys, known to us as

"hear no evil, see no evil, and speak no evil," are symbols of

virtue. Iwasaru covers his mouth, and Kikusaru covers his

ears, while Misaru covers his eyes; there is a famous shrine

to the three at the great temple at Nikko. The compact
design of this netsuke is perfect; it has no protruding parts
to snag the wearer's kimono.

26
13 Kagamibuta with Bashiko
l'.arlv 20th century
Ivory and silver; d. I / in. (4.7 cm)
Unsigned
Gift of 1 1. A. Fee; 1950.1 15

Bashiko, another Taoist immortal, is considered by the

Japanese to be the first veterinary surgeon. He supposedly
lived in China in the years 2697-2597 B.C. and cured a

dying dragon by operating on its throat. Bashiko is rarely

depicted in art, while another Taoist sage, Chinnan, is more

popularly shown with dragons.

14 Kintaro hiding behind a Tengu mask

Late 19th century

Wood; h. 1 Vi„ in. (3.3 cm)
Unsigned
Bequest of Noah H. Swayne, 1922; 1928.151
X
Kintaro was a legendary boy who became lost in the

mountains of Japan. He gained superhuman strength

by wrestling with all the creatures of the forest. These
included a tengu, a mountain deity that was part bird
and part human. Kintaro took great delight in raiding

the nest of a tengu, who fiercely protected it with his

tremendous strength. Masks of the tengu were often used
in one of the traditional forms ol Japanese theater. Bug.tku.

which combined drama with dance.

27
 15 Raiden

Mid l
l
)th century
Ivory, w. 2 >/g in. (5.4 cm)
Signed: Masatami
Gift of H. A. Fee; 1948.140

Shinto is the name given to the indigenous religion of

Japan, having as main deities all the elements of nature:
its

the sun, moon, wind, tides, etc. Raiden is the god of

thunder, who looks from a cloud to the earth searching for
a place to throw his lightning bolts. He holds a stick for
beating his drum, which creates the thunder men hear on
earth. There were two netsuke carvers named Masatami.
Thisis most likely by the earlier artist, who worked in

Nagova and carved mostly ivory figures.

16 Kappa on a cucumber boat

Late 19th century

Ivory and applied metal; d. 1 *U in. (4.4 cm)
Signed: Koku
Gift of H. A. Fee; 1948.126

A kappa is one of the many magical creatures and spirits

that inhabit the woods and mountains of Japan. It is a

small, furless creature that somewhat resembles a monkey
but has an indentation on the top of its head that holds
magical water. If the water is spilled, the kappa loses its

powers. It lives in ponds, lakes, and

on rivers and thrives

the blood of drowned

Kappa also have a craving
children.
for cucumbers, and people can satisfy them by throwing

cucumbers into the water in the hope that the monster will
eat the vegetable instead of feeding on humans. The artist
Kokusai, who in this piece signed his name as Koku,
cleverly created a cucumber vine in ivory and then placed a

metal insert with the kappa propelling a cucumber as a boat

in the center of the netsuke.

28
17 Monkey with peach
I do Period (10 IS- 1868)
Wood; h. 1 7. in. (4.4 cm)
Unsigned
Gift of'11. A. Fee; 1950.86

Monkeys were very popular subjects tor netsuke carvers. I hey

are the ninth sign or the Zodiac, and people horn under that

sign are considered clever, good leaders, and problem solvers.

Monkeys are often the heroes in folk legends and religious

texts, but when shown with a peach they symbolize longevity.

The peach is a Taoist symbol for immortality but can also
represent femininity and peacefulness.

18 Lion (shishi)

Mid 1 8th century

Lacquer; h. 1 '/a in. (2.8 cm)
Unsigned
Gift of H. A. Fee; 1950.78

This striking lion, or shishi as it is known in Japan, bears

little resemblance to the ferocious king of the beasts with
which we are familiar. The shishi looks more like a dog
with fangs and a curly mane. The lion is an animal not
found in Japan, and the image is based on Chinese and
Indian models. They often appear in pairs at the entrances
to temples as guardian figures and symbols of divine

protection.

29
 19 Dragon with coral

Mid l
l
) tli century
Ivory and coral; \v. 1 7a in. (4.7 cm)
Signed: Genryosai
Gift of 11. A. Fee; 1950.161

Genryosai, one of two Tokyo artists to work under this

name, created this magnificent netsuke of the most

powerful mythological creature in China and Japan and
fifth animal of the Zodiac, the dragon. Although Asian
dragons have no wings, they are able not only to swim the
depths of the sea but also to fly. This dragon is set among
clouds, clutching a huge piece of coral. Coral symbolized
a rare and perfect thing.

20 Tiger

Late 18th century-

Ivory; h. 1 Vu, in. (3.3 cm)
Unsigned
Gift of H. A. Fee; 1950.144

The Japanese learned about tigers from verbal descriptions

and Chinese artists' depictions, since there are no tigers in

Japan. When artists created images of tigers, they were

merely caricatures of the mighty beast or images derived
from local cats. Tigers are the third sign of the Zodiac, and
people born under that sign are considered lucky, strong,
and full of courage.

30
21 Sage riding a kirin

1 9th century
Ivory; li. 3 '/a in. (7.9 cm)
Signed: ( lyokuju
Gift of H. A. Fee; 1950.141

A kirin is a mythological animal that originated in China

and is sometimes referred to as a unicorn because of its

single horn. It has the body of a deer, the tail of a lion, and
the head and legs of a horse, creating a unique hut gentle
creature. Seeing a kirin in the clouds and surrounded by
flames generally means a person of great importance, like

a ruler or holy man, is about to be born. The kirin is

considered the greatest of all mythological beasts and

appears only every 1 0,000 years.

22 Taoist sage

19th century
Marine ivory; h. 2 '/, in. (5.7 cm)
Signed: Shogetsu
Gift of H. A. Fee; 1950.120

Although this figure of a bearded man has no significant

attributes to help identify him, he is probably one of the
numerous Taoist sages often depicted by netsuke carvers.
When Chinese culture and religion were introduced into
[apan in the sixth century, many of the legendary figures of
Taoism, Buddhism, and Confucianism were adopted into
Japanese beliefs. Taoist sages, who roamed the mountains
and withdrew from civilization, were often considered
magicians, and images of them were used as lucky charms.

31
 2} Ashinaga and Tenaga with a fish

Mid 19th century

Wood; h. 4 "/,„ in. (10.3 cm)
Signed: Doraku
Gift of H. A. Fee; 1948.161

The story explaining these strange-looking men can be

traced to Chinese mythology, which maintained that a

peculiar race of people lived on the coast of the Pacific

Ocean. Ashinaga, the long-legged man, carries Tenaga, the

long-armed man, into the sea where they can catch fish in

deep waters. When shown together, they are a symbol of

peaceful co-operation.

24 Suigaraake netsuke

Early to mid 19th century

Satsuma glass with gilt bronze mount; d. 1 Vs in. (3.5 cm)
Unsigned
Gift of Richard R. Silverman; 1984.102

This rare glass netsuke, made in the province of Satsuma,

probably served as a personal ashtray for the wearer
(suigaraake means tobacco ashes). The ornate gilt bronze,
smoke-breathing dragon is quite appropriate and amusing
considering the function of the object. Netsuke and inro
were often combined with smoking paraphernalia worn at

the waist. The bronze mount also serves as the attachment

for the cord from the netsuke to the inro.

32
25 Three puppies on a roof tile
O
[.ate 19th century
Wood and ivory; w. 1
!

/, in. (3.2 cm)

Signed: Chokosai
U0
Bequest of Noah II. Nwaync, 1922; 1927.120

The pups depicted here may have a symbolic meaning,

for much is associated with them in traditional Japanese
culture. The dog was the eleventh sign in the Japanese
Zodiac, and in folk talcs was often honored as a deity.

Japanese believed that dogs offered protection from evil.

In addition, because dogs gave birth quite effortlessly,

those desiring an easy childbirth often invoked them for

help. Thus, this netsuke probably served as an amulet,

perhaps one protecting the home.

26 Drum
19th century
Ivory; d. 1 Vx in. (3.5 cm)
Signed: Kajikawa
Gift of H. A. Fee; 1948.117

Musical instruments are often depicted in netsuke, either

by themselves or in the hands of a musician. In Japan, there

are three forms of drum: plain cylinders, corded or banded
drums, and dumbbell-shaped drums (called tsuzumi). This
netsuke represents the second type, a banded drum.

33
 27 Rat

19th century
Wood; h. 1 Vi„ in. (}.} cm)
Attributed to Masanao of Kyoto
Gift of II. A. Fee; 19-48.181

This charming netsuke of a rat, with its tail wrapped

around its body and held by its own paws, is typical of the
style of a family of netsuke carvers named Masanao. These
outstanding carvers specialized in creating images from
nature in a realistic manner. At members of this
least eight

talented family worked in Kyoto under the same name

from the late eighteenth century until the present day.

28 Kagamibuta with landscape

Mid 19th century

Ivory and metal; d. 1 '/: in. (3.8 cm)
Unsigned
Gift of H. A. Fee; 1948.169

This plain, ivory bowl supports a gilt gold metal disk with
a landscape of a rustic cottage at the waters edge. Mt. Fuji
can be seen in the distance with puffy clouds floating
overhead. The cottage is not the home of an impoverished
person and, in fact, could represent the hut of an aristocrat,
who wanted the dwelling to appear rustic in order to
harmonize with nature. If you look closely, you can see
the shoji, or sliding paneled door, half open to reveal the

interior of a room. The fact that the door can actually be

slid open is very rare and is a great example of the artist's

clever craftsmanship.

34
29 Manju with toys

Edo Period (1615 1868)

Ivor}', lacquer, and iridescent shell; d. 1 7n in. (4.1 cm)
Unsigned
Gifi of 11. A. Fee; 1950.81

1 his delightful round netsuke displays a selection of toys

on one face and a new moon and plum twigs on the other.
I he most prominent toy is an inuhariko, a brightly painted
toy dog made of papier-mache and usually sold at Shinto
shrines as a protective charm for children. The Oaruma
toy, at the lower left, is like our Roly-poly toys that have
weighted bottoms and always right themselves after being
knocked over. Daruma is a well-known Buddhist priest

who once meditated for nine years, sitting so long that his

legs withered, leading to this comical depiction of him.

Shuttlecocks, used in games, complete the group of toys.
This netsuke may have been created for a young boy.

30 Seated monkey

Late 1 9th century

Wood with inlaid glass eyes; h. 1 '/: in. (3.8 cm)
Unsigned
Gift of H. A. Fee; 1950.150

The only monkeys native to Japan are small, with tan fur
and short tails. All other types, such as baboons and the
long-armed monkeys often depicted in art, are copied from
Chinese models. This realistically carved monkey, biting the
back of his hand, has no apparent symbolic meaning but is

a delightful example of the carvers craft.

35
 31 Manju with gold objects

19th century
Lacquer; d. 1 "/i„ in. (4.0 cm)
Unsigned
Gift of H. A. Fee; 1950.1 13

The variety and symbolism of the gold objects depicted on

this netsuke suggest that it was made for a boy. The top,
paper crane, and toy carp all suggest a young child's

interests, but the addition of the sword marks the advent of

a young boy's coming of age. While cranes stand for peace,

carp represent a boy's strength and strong will, for the fish
are known to swim upstream and even up waterfalls, never

giving up until they die. Boy's Day is a national holiday in

Japan celebrated on May fifth.

32 Inuhariko

19th century-
Wood; h. 1 i/
4 in. (3.2 cm)
Unsigned
Gift of H. A. Fee; 1950.104

Toy dogs, known as inuhariko, were originally made as

boxes to be given to friends on a festival day. While they

were often given to women as charms for an easy birth,

they became very popular as good luck charms for children.

Purchased at Shinto shrines, the brightly painted dogs,

often made of papier-mache, are supposed to capture
sickness and danger in the hollow cavity inside the toy.

36
 —

}.^ Court lady and gentleman with a poem card

Mill 1 9th century

Ivors-; h. I 7s in. (4.1 cm)
Signed: Masatsugu
Gift of 1 1. A. Fee; 1952.45

Baron Morimashi Taki (1829-1914) was one of the first

Japanese to begin collecting what the Japanese themselves

often considered craft rather than art. He recognized that
wonderful handmade objects — such as baskets, fabrics,

sagemono, and netsuke —were true works of art and should

be preserved for the heritage of Japan. This netsuke,
showing two Heian Period (794-1 185) members of the

emperor's court sharing a poem card, was once part of the

Barons collection.

34 Warrior and helmet

Early 19th century

Wood with horn and stag antler inlays; h. 2 7s in. (6.0 cm)
Unsigned
Gift of Richard R. Silverman in the year 2000 in memory
of his brother Irwin Silverman; 2000.

This fierce warrior wears the elaborate helmet favored by

feudal lords and their vassals in the Momoyama Period
(1568-1600). The intricate helmet is carved with monsters
around the top and plant forms on the neck guards. The
story of how the collector came to acquire this netsuke is

truly remarkable. The netsuke was made in two pieces, and

sometime after 1913, when it was sold from the collection
of the London collector W. L. Behrens, they were separated.
Richard Silverman discovered the head in Toledo in 1974
and six years later found the helmet in Los Angeles
a chance in a million for the rwo pieces to be re-united!

37
 35 Kagamibuta with figure in a boat

Mid 19th century

Stoneware; d. 1 '/, in. {.^.l cm)
[nsci ibed: Kami ama name
\ I oi kiln)

Gift of Richard R. Silverman; 1991.89

This kagamibuta netsuke is rare for several reasons. Fragile

ceramic netsuke and inro have not often survived to the

present. Kameyama was a very small kiln in Nagasaki with
a limited output, which makes this netsuke rare indeed.
Finally, the subject matter is most unusual for a netsuke,

and is inspired by Chinese landscape painting, with a man

in a boat floating under pine branches.

K 36 Box of shells
19th century

/ Ebony and mother-of-pearl; h. Vu, 1 in. (3.0 cm)

Signed: Tomokazu
Gift of W. P. Baker, 1922; 1926.1 13

The artist Tomokazu specialized in carving wood of all

types. He worked in several cities during his long career,

including Nagoya, Kyoto, and Edo. While animals were

his favorite subjects, he created this netsuke as an intricate
box overflowing with shells. He used mother-of-pearl to
resemble incrustation on the dark ebony shells. This is

the first netsuke owned by the Toledo Museum of Art

and was donated in 1922 by Mr. W. P. Baker of Brooklyn,
New York.

38
37 Manju with pine hark and leaves

19th century
Wood, lacquer, mother-of-pearl, and ivory; d. 1 7, in. (4.4 cm)
Unsigned
Gift o! II. A. Fee; 1948.124

I his netsuke is an example ol the two-piece manju type,

formed by two halves put together. When closed, they
disguise the mount through which the silk suspension cord
is threaded. The hark of a pine tree is carved out of one side
of this netsuke, with the pine needles applied in black and
red lacquer. Three falling leaves are superimposed over the
tree trunk: two mother-of-pearl leaves and one ivory leal

that has been stained green.

38 Kagamibuta with grasshopper

19th century
Ivory with gold foil and bronze; d. 1 '/a in. (4.1 cm)
Unsigned
Gift of H. A. Fee; 1948.157

The subject depicted is that of a series of clouds, designed

after Chinese models, surrounding the heavy gold foil lid

which has a black bronze grasshopper who seems to float in

the midst of embossed pine needles. This elegant netsuke
might have been the perfect accessory for a wealthy man's
autumn wardrobe.

39
 —

39 Ryusa aetsuke

L9th century
Walrus cusk; d. 1
l
/j in. (3.8 cm)
Unsigned
Gift of H. A. Fee; 1950.91

The odd assortment of things carved on this netsuke

including a bat, a wave, a fan, a yak tail, a scroll, and a
—
mushroom symbolizes longevity, wisdom, and happiness
for the man who wore it. The finest netsuke carvers were

commissioned for works such as this one, but as the

demand for netsuke reached its peak in the nineteenth

century, many were mass produced by lesser artisans to

satisfy the market.

40 Porcelain gourd

19th century
Ceramic with colored glazes; h. 2 '/k, in. (5-2 cm)
Unsigned: Hirado kiln?
Gift of H. A. Fee; 1950.114

Ceramic netsuke are uncommon because of their fragility

and are highly desired by collectors. Gourds were some-

times used as sagemono, the containers held in place by
netsuke, to hold powdered medicines or perfume. This
porcelain gourd, which is the color of an eggplant, has a
rare image of a lizard crawling across its surface, bugs being
much more typical. Gourds and eggplants are both symbols
of fertility.

40
41 Hako with mushrooms and maple leaves

19th century
Lacquer; w. 1 '/, in. (3.2 cm)
Unsigned
Gift of H. A. lee; 1950.1 1 1

This black lacquer hako, or box-shaped netsuke, is embel-

lished with designs of maple leaves and mushrooms, both
suggesting the autumn season. Mushrooms are emblems of
fertility and long life, and the beauty of maple leaves was so
appreciated that maple leaf viewing parties in the fall season
were very popular during the hdo Period.

42 Manju with chrysanthemum blossom

Edo Period (1615-1868)

Lacquer and gold; d. 1 "/h. in. (4.3 cm)
Unsigned
Gift of H. A. Fee; 1950.97

Chrysanthemums have been grown and admired in Japan

and China for thousands of years. The first recorded
Japanese chrysanthemum-viewing party was held on the
ninth day of the ninth month in the year 685 and was
attended by the emperor. It was held as a way to stay

healthy, as the flowers were thought to have healing

properties. Since the flowers bloom in the fall when most of

the rest of the plant world is dying, the chrysanthemum is a

symbol of longevity. This netsuke is made of gold lacquer;

that is, gold dust was saturated in the clear lacquer, creating

a spectacular effect. The design is further enhanced by small

cut pieces of gold applied to the netsuke and then lacquered
over to create a smooth surface.

41
-4 3 Manju with reishi

Mid 19th century

lvorv and stag antler; d. 1 5
/s in. (4.1 cm)
Signed: Kokusai
Gift of H. A. Fee; 1948.118

Kokusai is the most well-known carver who worked in the

Asakusa School, which was located in an artistic quarter

or Edo during the middle of the nineteenth century. His
unique netsuke are often unconventional, and he was a
specialist in the use of ivory and antler. This manju, or
round netsuke, shows two reishi fungi, a kind of tree
mushroom, in the center. A most unusual, elegant staining
treatment is applied to the bowl.

44 Mask of an old man

Edo Period (1615-1868)

Stag antler with inlaid brass eyes; h. 1 7s in. (4.8 cm)
Unsigned
Gift of H. A. Fee; 1948.153

The Noh form of theater developed in the fourteenth

century from two earlier types, Gigaku and Bugaku, both
Buddhist religious dances. Masks were used in all forms of
these theatrical morality plays. In the Edo Period, netsuke
masks became quite popular and reproduced the stock
characters of Noh theater. This is an excellent example of a
Jo (meaning old man) mask, a general term used to describe
all old men characters in a Noh play. More specifically, the

mask could be that of Shiwajo, a frowning old man with a

short beard under his chin. The carver used brass nails for
the eyes of the netsuke — full-size Noh masks usually had
holes for the actor's eyes.
45 Mask of Okame

Late 1 9th century

Ivory; h. 1 '7i„ in. (4.0 cm)
Signed: (iyoku/.an
Gift of H. A. Fee; 1948.152

C iyoku/.an was an artist who worked in both l.do and

Kyoto and is known to have created several masks of the
Shinto goddess of laughter, Okame. She was an important
character in Noh drama, and legend has it that her comical

dance coaxed Amaterasu, the sun goddess, out of her cave,

bringing light to the world. Her puffy cheeks, black hair,

and red lips make Okame easily recognizable, and she is a

favorite subject of nctsuke carvers.

46 Masked child beating a drum

19th century
Wood and ivory; h. 1 '/, in. (3.2 cm)
Signed: Jusrvoku
Bequest of Noah H. Swayne, 1922; 1927.123

New Year's festivals in Japan always include shishimai,

or lion dances, which began as part of Gigaku Buddhist
religious dances and then were danced in the Noh drama.
This wonderful netsuke shows a child beating a drum
with a shishi mask over his head. His happy face can be
seen peering out from the jaws of the lion.

43
 47 Hako with Chinese servant
19th century
or.
Lacquer; h. 1 7w, in. (3.6 cm)
Unsigned
Gift ot'H. A. Fee; 1948.137

This lacquered wood hako, or box-shaped netsuke, is

unusual because it was also inlaid with iridescent shell and

gold foil. It depicts a happy Chinese boy, usually referred

to by the Japanese as Karako, who is busily carrying scrolls

and a wine bottle.

48 Chinese archer

Early 19th century

Ivory; h. 2 "/u, in. (6.8 cm)
Unsigned
Gift of H. A. Fee; 1948.150

The cloud-patterned clothes, hat, and facial features

identify this figure as Chinese. His bow is slung over one

shoulder, and the quiver with arrows is strapped to his
back. What appears to be a round shield in one hand is

actually his outlandish hat. The Japanese were practically

cut oft ftom the rest of the world from the middle of the
seventeenth to the middle of the nineteenth centuries, but
they had a keen interest in portraying foreigners.

44
49 Serving spoons with netsuke attached as handles

1 8th- 9th century

1

Ivor)' and silver; h. 9 5

/a in. (24.4 cm) and h. 9 7i6 in. (23.9 cm)
Unsigned
Gift of Richard R. Silverman; 1988.47 and 1988.48

This pair of spoons uses netsuke in a unique way by

attaching them as handles. The netsuke, which depict a
Chinese man carrying a child and a Dutchman holding a
rooster, were carved in Japan in the eighteenth century.
The spoons were made in London in 1897 or 1898 hy the
well-known silversmiths Slater, Slater, and Holland. Japan
had such limited contact with the outside world from the
seventeenth to the nineteenth centuries that foreigners were
fascinating subjects for Japanese carvers. Images of these
strangers were based on hearsay and imagination. There
is one other set of such objects owned by a European
museum according to the donor.

50 Foreigner

Mid 19th century

Ivory; h. 1 7u, in. (3. 6 cm.)
Signed: Kosen
Gift of H. A. Fee; 1948.159

This delightful katabori netsuke by Kosen from Osaka

shows a foreigner cleaning a large jar. One expert has
identified him as the Portuguese merchant Fernandes
Mendes Pinto. The Portuguese, who began coming to

Japan in the sixteenth century, were among the first

western Europeans to trade with Japan. The long

inscription on the jar translates as "Brought to the land
of the rising sun [i.e., Japan] in the fifth month of the
first year of Tembun [i.e., 1532]."

45
 .

h
Selected Dibl icqrapny
de Bary, W.T. The Buddhist Tradition. New York: Random House, 1969.

Bushell, Raymond. The Netsuke Handbook of Veda Reikichi. Rutland:

Charles E. Tuttle Company, 1964.

Bushell, Raymond. Co/lector's Netsuke. New York: Walker/Weatherhill, 1971.

Davey, Neil K. Netsuke. London: Faber &Faber Ltd., 1974.

Davies, Barry. Netsuke Classics. London: Rustin Clark, 1990.

Ducros, Alain. Netsuke and Sagemono. Lyon: Alain Ducros, 1987.

Earle, Joe. An Introduction to Netsuke. London: Compton Press, 1980.

Edwards, Lisa A., and Margie M. Krebs. Netsuke. Salem: Peabody

Museum of Salem, 1980.

Gorham, Hazel. Japanese Netsuke. Yokohama: Yamagata Printing

Company, 1957.

Guth, Christine. Art of Edo japan. London: Calmann and King, 1996.

Joly, Henri L. Legends in Japanese Art. New York: John Lane Company, 1908.

Lazarnick, George. Netsuke and Inro Artists and How to Read Their
Signatures. Honolulu: Reed Publishers. 1981.

Masatoshi. The Art of Netsuke Carving. Tokyo: Kodansha International

Ltd., 1981.

Mason, Penelope. History ofJapanese Art. New York: Abrams, 1993.

Meinertzhagen, Frederick. The Art of the Netsuke Carver. Hollywood:

Kurstin-Schneider, 1975.

Okada.Yuzuru. Netsuke —A Miniature Art ofJapan. Tokyo: Japan Travel

Bureau, 1953.

Detail cat. no. 15. Paine, Robert Treat and Alexander Soper. The Art and Architecture of
japan. Baltimore: Penguin Books, 1975.

Piggott, Julie. Japanese Mythology. New York: Peter Bedrick Books, 1984.

Reyerson, Egerton. The Netsuke ofjapan. New York: A.S. Barnes and Co., 1 971

Sandfield, Norman. The Ultimate Netsuke Bibliography. Chicago: Art

Media Resources, 1999.

Silverman, Richard. "The Toledo Museum's Netsuke Collection." Netsuke

Kenkyukai Summer (1985) 13 -19.

Stanley-Baker, Joan. Japanese Art. London: Thames and Hudson, 1984.

Symmes, Jr., Edwin. Netsuke, Japanese Life and Legend in Miniature.

Rutland: Charles E. Tuttle Company, 1996.

Welch, Matthew and Sharon Chappell. Netsuke, The Japanese Art ofMiniature
Carving. Minneapolis: The Minneapolis Institute of Arts, 1999.

46
 Y /\cccession l\luinb
Concordance by utnoer
At the Toledo Museum ot Art the accession numbers can he decoded as follows: the lour dibits to the left of the period
represent the year in which the object was accessioned. The digits following the period indicate the sequence of accession
with the year. E.g., 1 950.88 indicates the eighty-eighth work accessioned in 1950. Numbers in the right column refer to
" '"
catalogue numbers, except lor I numbers which refer to the netsuke types described and illustrated on pp, 14 and 15.

1926.113 36 1948.157 38 1950.141 21

1927.114 3 1948.159 50 1950.143 1 1

1927.1 17 I 1948.161 23 1950.144 20

1927.120 25 1948.162 5 1950.146 T-5

1927.123 46 1948.166 7 1950.150 30

1928. 1 si 14 1948.169 28 1950.161 19

1928.1 SS 12 1948.181 27 1950.167 9

1948.1 17 26 1948.183 T-6 1950.171 8

1948.118 43 1950.86 17 1950.173 T-4

1948.124 37 1950.91 39 1950.78 18

1948.126 16 1950.97 42 1950.80 1-2

1948.129 T-l 1950.103 T-3 1950.81 29

1 948.1. V? 47 1950.104 32 1952.45 33

1948.1-tO 15 1950.111 41 1952.46 2

1948.142 28 1950.113 31 1952.47 T-8

1948.144 4 1950.114 40 1984.162 24

1948.1 so 48 1950.115 13 1988.47 49

1948.152 45 1950.120 22 1988.48 49

1948. 153 44 1950.130 T-7 1991.89 35

1948.156 6 1950.135 10 2000. 34

47
 5 1

.
u
un.ucrasu.
ex
Hoshu, 24 pleasure quarters, 9, 10
Ashinaga. 3- Hotei, 24,25 porcelain, 17, 40
Baker, W. P., 5. 38 inlays, 19,37,44 rabbit, 24
Bashiko, 27 inro, 5,7,11, 13, 14,32 Raiden, 28, 46
Behrens, W. L, 7 inuhariko, 35, 36 Ryu Sennin, 23
Benten, 1 Jo mask, 42 Ryusa, 14,20,28,40
Bodhidharma. 25 Jugyoku, 43 sagemono, 7, 13, 37, 40
Bay's Day Festival, 31, 36 Kabuki, 10, 14 Sambiki-saru, 26
Buddha. 22 Kagamibuta, 14, 19, 27, 34, 38, 39 samurai, 8
Buddhism. 10,21, 25, 31 Kagetoshi, 1 5 sankin kotai, 9
Bugaku. 15.27,42 Kajikawa, 33 Sanzu-no-Kawa, 21
36
carp. 22. Kameyama, 38 Sashi, 1 5

Chinnan, 27 Kappa, 28 Seiobo, 26

Choju Giga, 24 Karako, 44 Sennin, 14, 22,23,26
Chokosai, 33 Katabori, 14, 15 Seven Gods of Good Fortune, 21, 24, 25
chonin, 8,9. 10 kimono, 7, 9, 13, 24, 26 Shinto, 21,28,35, 36, 43
chrysanthemum, 14,41 Kinko, 22 shishi, 29, 43
Confucianism, 8, 31 Kintaro, 27 shishimai,43
"
T
coral. 1 . 30 kirin, 31 Shiwajo, 42
crane. 21, 36 Koku (Kokusai), 4, 19,28,42 Shogetsu, 31
Daikoku, 25 Kosen, 45 shogun, 7, 8, 17
daimyo, 8, 9, 17 kosode, 7 shoji, 34
Daruma, 25, 35 Kyoto, 7, 8, 9, 17, 18, 24, 34, 38, 43 Shoki, 15
Doraku, 32 Kyushu, 17 Silverman, Richard R., 2, 4, 5, 37, 38, 45
dragon, 23, 30, 32 lacquer, 17, 19, 29, 35, 36, 39, 41, 44 SokenKisho, 17, 18
Dutch traders, 9, 45 lion, 29,43 suigaraake, ?>2

Edo, 7, 8. 9. 10, 15, 17, 24, 25, 38, 42, 43 manga, 24 Swayne, Noah H., 5

eggplant, 40 manju, 14, 16,23,35,36,39,41,42 Taoism, 21, 22, 31

Emma-O, Buddhist King of Hell, 21 Masaka, 23 tatebina, 15
engraving, 19 Masakazu, 21 techniques, 19
eta, 8, 10 Masanao of Kyoto, 18, 24, 25, 34 Tenaga, 32
Fee. H. A., 5 Masatami, 28 Tengu, 27
Fukurokuju, 21 Masatsugu, 37 thunder god, 28
(jama Sennin, 23, 26 Mask, 15,42,43 tiger, 30
geisha. 9 monkey, 26, 29, 35 Tokugawa, 7, 8

Genryosai, 30 Morimashi Taki, Baron, 37 Tokugawa Ieyasu, 7, 8

Gigaku, 15,42,43 Mt. Fuji, 34 Tomokazu. 38

glass, 17,32 musical instruments, 33 toy dogs, 35, 36
gourd, 13, 40 Nagasaki, 10,38 trick, 15,22

Gyoku. 2} netsuke-shi, 17, 19,24,25 tsuzumi, 33

Guokuju, 31 Noh, 42, 43 ukiyo-e, 10
Gyokuzan, 43 ojimc. 5, 7, 11, 13 yamabushi, 22
hako, 15,41,44 Okame, 43 Zen Buddhism, 25
Heian Period, 37 Oni, 15 Zodiac, 24, 29, 30. 33
himotoshi, 14, 15 peach. 26, 29
Hirado kilns, 17,40 Perrv, Commodore, 1

48