Netsuke

Netsuke types and materials

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 17^th 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 17^th 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 18^th century. Due to the costliness of the elephant tusk (zôge), which was imported by the Dutch from the 17^th 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 19^th century works with elaborate inlays testify to their increasing popularity, but also to the material knowledge of the netsukeshi (jap. = netsuke carver) (fig. 12). 

Hunting, purchasing and collecting - an introduction to collecting netsuke

When asked how many netsuke one needs to denote the group as a collection, the famous collector Ted Wrangham (1928 - 2009) answered: ''Three. Two to keep, one to exchange''. Everyone is free to raise their possessions to the level of a collection. For some collectors it is only necessary to have a collection concept. For example, the collecting of all the zodiac animals, or the depiction of a god of good fortune from all epochs and schools. In many collections, however, the heart seems to possess the greatest curative power. In the last few years there has been an increase in the number of purchases made on grounds of signatures. Works by Masano, Tomotada, Ikkan or Kokusai are guaranties of high results and long-lasting value. In view of the large number of unsigned netsuke, an attribution is often difficult. However, this is the breeding ground for beginners to gain expertise through dialogue with other collectors. Netsuke auctions with an international audience are sounded-out weeks before on forums such as the International Netsuke Society, and analysed object for object. Discussions on a carver's surface handling of a walrus tooth netsuke from the 18^th century are spread across several pages. So where do you start as a collector? And what is there to offer as a beginner? In general, the following advice can be given:

1. Handling is better than looking
2. Critical analysis of style is more popular among connoisseurs than the unfounded belief in a signature. If this argumentation is not yet possible, refer to point 3
3. Every netsuke purchase should be preceded by the purchase of three reference books
4. 'Go for what you love'' - buy what you like (really, even if you are alone in this choice)

Everyone, regardless of the level of expertise, is recommended to have held in their hands the greatest possible number of netsuke in their collecting life. Collections such as in the Musée de Cinquantenaire in Brussels, the British Museum and the Victoria and Albert Museum in London, the Ethnographic Museum in Leiden, the Linden Museum in Stuttgart and the Museum of East Asian Art in Cologne all contain collections of some impressive pieces. The possibility of physical contact with the objects is not always possible, but always worth trying. The annual Netsuke Convention also offers the chance of contact with internationally traded pieces and their collectors. The program of lectures, workshops and auctions offers the chance to dive into the individual areas of this carving art. The simplest way however is to regularly visit the previews in specialist auction houses, such as Lempertz which offers a twice-yearly opportunity. A little physical assertiveness may be required at the display cases, but beware, as soon as the path is clear, eye and hand contact with the netsuke will quickly draw you into their orbit. Then, one hangs on to them like an inrô.