Netsuke

It is one advantage of art to be able to reach the emotions of the viewer purely through the visual. Thus the question of a rational comprehensible use is often overlooked. However, Japan of the 17th century bore an art out of pure utilitarianism which still today awakens pleasure in collectors worldwide not only through the visual experience but also through its haptics – the netsuke.

Traditional Japanese costume did not have any pockets, so everyday objects of the 17th century such as seals, ink pads or also medication were kept in small stacked containers (so-called inrô) (fig. 1). Leather pouches (dôran) or money purses (kinchaku) also needed to be carried. These objects (collectively known as sagemono; jap. = hanging things) needed then be fixed to a belt (obi) with a toggle. According to the translation of the Japanese word (ne = root, tsuke = hang), it is assumed that simple found objects such as misshapen pieces of root wood were used. However it is also likely that bones or other found objects could have played a useful role. Two connected holes (himotoshi) enabled a cord to pass through the object onto which all the necessary items could be hung. (Fig. 2). Starting originally with these found objects, the toggle over time became increasingly artistically worked. 

A strict categorisation of netsuke into various types is difficult. In general, the term katabori netsuke is a valid description of all three-dimensionally worked sculptures. From the 17th century (fig. 3) to contemporary carvings today (fig. 4), the almost inexhaustible wealth of motifs reflect the temporal world of Japan in nature and society, but also all that is transcendental and fantastical. The collection of the publisher Albert Brockhaus (1855 - 1921) offers an aperçu of all of these motifs. In his publication 'Versuch einer Geschichte der japanischen Schnitzkunst' (An attempt at a history of Japanese carved art) (fig. 5), the Leipzig collector not only published one of the most famous and renowned netsuke collections in the world. 

For the sake of completeness, the anabori and ittobori types should be mentioned here. Both are however to be understood as less of a type, but more as the terminus technicus of their art of finishing. A further netsuke type is that of the manju (fig. 6) and kagamibuta (fig. 7). Both are of rounded, flat form , the name manju originating from the Japanese rice cake of the same name. Turned and carved, this type offers a clearly delineated, and at the same time a wide-ranging collecting field of motifs. With the kagamibuta, it is once again clear where the pragmatism of the development of this type lies. 

Tobacco imported by the Portuguese into Japan in the 17th century grew quickly in popularity, and necessitated the carrying of smoking utensils by fashionable Japanese men. The tobacco container (fig. 8) (tonkotsu) and the matching pipe (fig.9) and pipe holder (fig. 10) (kiseru und kiseruzutsu) required a somewhat more resilient securement on the belt. The utensils are connected through the dish with a circular metal disc. This uppermost metal disc would naturally be decorated, such as with engravings or elaborate inlays. Once again it can clearly be seen how much utilitarianism and its artistic interpretation were interwoven in Japan, be it in the motifs or the choice of materials. 

Alongside the metal kagamibuta-type are the katabori netsuke, primarily of ivory, stag antler, wood and coral. However these details are only to be understood in general terms, under which countless varieties are found. The aspect of the material is important for an all-encompassing art-historical classification and evaluation of a netsuke. How closely the material characteristics and working were associated is seen in netsuke from the Kyôto region of the 18th century. Due to the costliness of the elephant tusk (zôge), which was imported by the Dutch from the 17th century onwards, each carver had to handle his resources sparingly. The characteristic basic shape of the pieces is due to the fact that the tusks were initially divided - in the Teramachi quarter in Kyôto, for example, whole workshops were dedicated to cutting elephant tusks - and then the smallest possible triangular segment cut from the upper end of the tusk was used for carving (fig. 11). Later 19th century works with elaborate inlays testify to their increasing popularity, but also to the material knowledge of the netsukeshi (jap. = netsuke carver) (fig. 12).