BOSTON

PUBLIC
LIBRARY
 Digitized by the Internet Archive
in 2015

https://archive.org/details/netsukehandbookoOOraym
'»
Ueda’s NETSUKE HANDBOOK
'I
 //
1. Tobacco Pouch and Netsuke. (Netsuke: ebony. 1 / 4 long. Signed: Yokoya
1

Somin. B 1107.) The pouch is made of gold brocade. The clasp, a gold peony in
full bloom, is signed Shomin (B 1016) and has a kakihan (written or carved seal).

The ojime is of solid gold in the shape of a shishi or lion-dog, which is sometimes
called kara-shishi (Chinese lion) or koma-inu (Korean dog). The netsuke simulates
the fushi and kashira used as sword furnishings (Fig. 8). It is made of ebony and
decorated with representations of shishi. Both ojime and netsuke are signed with
the name of Yokoya Somin and have kakihan. This is a good example of a netsuke
carved by a master metal artist. See text, pages 113-14. (See overleaf.)
 THE NETSUKE
HANDBOOK
OF UEDA REIKICHI

adapted from the Japanese

by RAYMOND BUSHELL

Rutland* Vermont : Charles E. Tuttle Company : tokyo-japan

Representatives

For Continental Europe:

Boxerbooks, Inc., Zurich

For the British Isles:

Prentice-Hall International, Inc., London

For Australasia:
Paul Flesch & Go., Pty. Ltd., Melbourne
For Canada:
M. G. Hurtig Ltd., Edmonton

Published by the Charles E. Tuttle Company , Inc.

of Rutland, Vermont & Tokyo, Japan

with editorial offices at

Suido 1-chome, 2-6, Bunkyo-ku, Tokyo

Copyright in Japan, 1961

by Charles E. Tuttle Company, Inc.

All rights reserved

Library of Congress Catalog Card No. 61-8739

International Standard Book No. 0-8048-0424-9

First printing, 1961

Seventh printing, 1971

Book design and typography

by F. Sakade & M. Weatherby
Layout of plates by M. Kuwata

PRINTED IN JAPAN
 Table of
Contents
LIST OF ILLUSTRATIONS page 9

adaptor’s preface 15

author’s preface 19

Part One: NETSUKE

1. Netsuke as Related to the History of Sculpture 23

2. The Netsuke and Its Types 55

3. The Origin and Development of Netsuke 58

4. Netsuke with Secondary Functions 64

5. Netsuke and the Tobacco Pouch 68

6. Netsuke Materials 73

Wood 73

Ivory and Horn 74

Metal and Porcelain 76

Lacquer and Other Materials 76

7. Netsuke Subjects and Designs 107

8. The Netsuke Artists 113

table of contents •
7
9. The Regional Characteristics of Netsuke 119

The Kansai Area 1 19

The Edo Area 124

The Chukyo Area 126

Other Districts 129

10. The Appreciation of Netsuke 159

11. The Decline of the Netsuke 164

12. The Export of Netsuke 166

13. Observations on Netsuke by Periods 169

Early Period 1 69

Middle Period 170

Late Period 172

14. Literature on Netsuke and Netsuke Collectors 201

15. Reminiscences of Netsuke Carvers 205

A Visit to Koun Takamura 205

Bestowal of Posthumous Honors 206

Part Two: AN INDEX OF NETSUKE CARVERS 213

bibliography 313

glossary-index 315

8 • table of contents
 List of
Illustrations

(Asterisks indicate color plates.)

*1. Tobacco Pouch and Netsuke. Gold brocade and

(Frontispiece).

ebony. Netsuke: Yokoya Somin. page 4

*2. Inro and Netsuke. Red lacquer. Unsigned. 27
3. Temple Guardian: Nio. Cherry wood. Miwa. 28
4. Noh Mask: Okina. Boxwood. Shugetsu. 29
5. Kyogen Mask: Buaku. Wood. Hozan. 29
6. Tsuba. Silver bronze. Mitsuhiro. 30
7. Kozuka. Gold Bronze. Mitsumasa. 30
8. Fuchi and Kashira. Silver bronze inlaid with various metals.
Katsumori. 30
9. Menuki. Various metals. Tomonao and Kosetsu. 31
10. Kagamibuta Netsuke. Wood and metal. Natsuo. 31
11. Kagamibuta Netsuke. Ivory and metal. Unsigned. 31
12. Kagamibuta Netsuke. Wood and metal. Mitsunaga. 32
13. Kagamibuta Netsuke. Ivory and metal. Eisai. 32
14. Manju Netsuke. Ivory. Unsigned. 33
15. Manju Netsuke. Ivory. Ryumin. 34
16. Ryusa Netsuke. Ivory. Unsigned. 34
17. Shishi. Rhinoceros horn. Unsigned. 34
18. Manju Netsuke. Ivory. Ono no Ryomin. 35
19. Kagamibuta Bowl. Ivory. Gyokuzan. 35
20. Sashi Netsuke. Staghorn. Kokusai. 35
21. Ash-Tray Netsuke (Kurawa). Metal. Unsigned. 36
22. Manju Netsuke. Copper wire. Unsigned. 36
23. Woven Metal Netsuke. Gold-bronze wire. Daisen. 36
24. Ash-Tray Netsuke. Silver bronze. Unsigned. 37
25. Ryusa Netsuke. Ivory. Unsigned. 37
26. Sashi Netsuke. Staghorn. Kokusai. 37
27. Teapot. Cane. Unsigned. 38
28. Basket. Wisteria vine. Ryuryusai. 38

LIST OF ILLUSTRATIONS •
9
 29. Nara Ningyo. Painted wood. Toen. 39
30. Leaf-clad Sennin. Bone. Unsigned. 39
*31. Kinchaku and Netsuke. Leather and crane’s foot. Chinai. 40
*32. Tobacco Pouch and Netsuke. Bamboo and ivory. Kaigyokusai. 41
33. Crab and Lotus Leaf. Tortoise shell. Unsigned. 42
34. Deer. Stone. Unsigned. 42
35. Kendo Mask. Silver and silver bronze. Masayasu. 43
36. Hotei, God of Happiness. Porcelain. Ninsei. 43
37. Gourd Netsuke. Unsigned. 44
38. Cicada. Bamboo. Hoshin. 44
39. Snake and Frog. Ivory. Masatsugu. 44
40. Daruma. Wood. Toen. 45
41. Noh Mask: Kumasaka (?). Wood. Deme Joman. 45
42. Stone Netsuke. Unsigned. 46
43. Funny-Face Netsuke. Walnut. Unsigned. 46
44. Chrysanthemum. Leather. Unsigned. 46
45. Fujimame (Wisteria Bean). Shunyo. 46
46. Bakemono. Black coral. Chomin. 47
47. Malachite Netsuke. Unsigned. 47
48. Gong. Wood. Unsigned. 48
49. Gourd. Wood. Unsigned. 49
50. Sake Gourd. Wood inlaid with ebony, ivory, etc. Tokoku. 49
51. Seal Netsuke. Wood. Unsigned. 50
52. Chohi. Ivory. Shogetsu. 50
53. Filial Piety. Ivory. Doraku. 51
54. Seal Netsuke. Wood. Kyusai. 51
55. Karako. Ivory. Anraku Shukosai. 52
56. Goki. Ivory. Shokyokuken. 52
57. Sake-cup Netsuke. Ivory. Unsigned. 53
58. Dagger Netsuke. Lacquered wood. Keiraku. 53
*59. Bukan Zenshi and Tiger. Boxwood. Shumemaru Unjudo. 54
*60. Daikoku. Boxwood. Shuzan (Nagamachi). 79
*61. Tea Tea wood. Unsigned.
Picker. 79
62. Yatate Netsuke. Metal. Yokoya (Somin). 80
63. Sundial Netsuke. Silver bronze and cloisonne. Unsigned. 80
64. Skeleton. Ivory. Unsigned. 81
65. Gigaku Mask: Tengu. Wood. Ittokusai. 82
66. Diving Girl. Ivory and red sandalwood. Yukoku. 82
67. Boar-Tusk Netsuke. Gansui. 82
68. Monkey Doll. Cherry wood. Miwa. 83
69. Elephant. Ivory inlaid with coral, tortoise shell, etc. Shibayama. 83

10 • list of illustrations
 70. Ryuan. Ivory. Kaigyokusai. 33
71. Nio and Oni. Cherry wood. Miwa. 84
72. Kabuki Entertainer. Wood and ivory. Ho-ichi. 85
73. Go Players. Ivory. Issai. 85
74. Monkeys. Ivory. Kaigyokusai. 86
75. Goat and Young. Ivory. Kaigyokusai. 86
76. Daruma. Inlaid wood, ivory, etc. Tokoku. 87
77. Diving Girl. Ivory, wood etc. Gyokuso. 87
78. Kappa. Staghorn. Rensai. 88
79. Clustering Rats. Ivory. Tomochika. 88
80. Ronin. Whale tooth. Attributed to Issai. 88
81. BlindMan. Wood. Shoko. 89
82. Handaka Sonja. Ivory. Issai. 89
83. Ono no Tofu. Wood. Unsigned. 90
84. Gigaku Mask: Otoko. Wood. Choka. 90
85. Noh Mask: Kaminari. Ivory. Kyogyoku. 90
86. Wasp and Hive. Wood. Toyomasa. 91
87. Noh Mask: Gedo. Wood. Masayuki. 91
88. Kyogen Mask: Hyottoko. Wood. Masakazu. 91
*89. Gama Sennin. Porcelain. Unsigned. 92
*90. Sennin with Sacred Jewel. Lacquered wood inlaid with pearl,
ivory, shell, etc. Unsigned. 92
*91. Otafuku. Porcelain. Kenya. 93
92. Cock and Hen. Wood. Masanao. 94
93. Tsuba. Ebony. Yoshu Kotetsu. 94
94. Horned Demon. Wood. Ryumin. 95
95. Portuguese Gun. Red sandalwood and damascene. Murasada. 95
96. Omi Hakkei. Ivory. Nagamitsu. 96
97. Rock Basket. Wood. Kyokusai. 96
98. Landscape. Red sandalwood. Ishiguro Masayoshi and Goto. 96
99. Oishi Kuranosuke. Wood inlaid with ivory. Soko. 97
100. Tsuru (Crane) Sennin. Ivory. Mitsuhiro. 97
101. Manzai. Ivory. Hojitsu. 97
102. Horse. Ivory. Rantei. 98
103. Noh Dance. Wood. Hozan. 99
104. Ikkaku Sennin. Ivory. Rantei. 99
105. Mermaid. Wood. Sansho Wada. 190
106. The Miraculous Teakettle. Ebony. Mitsuhiro. 190
107. Moth. Ivory. Dosho. 191
108. Dried Salmon. Black coral. Tomotada. 192
109. Lizard and Centipede. Wood. Yoshinaga. 102

LIST OF ILLUSTRATIONS • 11
 110. Snake and Frog. Wood. Masanao. 102

111. Bear. Red sandalwood. Ichiraku. 103

112. Tennin. Ivory. Hojitsu. 103

113. Ink Stick. Ebony. Kyusai. 103
114. Amagatsu. Ivory. Masanao. 104
115. Daruma. Wood. Joso. 105
116. Kiyohime and the Bell of Dojo-ji. Wood. Tadatoshi. 105
*117. Oni and Glam. Coral. Unsigned. 106
*118. Shojo. Lacquered ivory and coral. Koteisai. 106
*119. Lion Dancer. Gold lacquer. Koma Bunsai. 131

120. Okame. Wood. Masakazu. 132

121. Snail. Wood. Tadatoshi. 132
122. Goat. Wood. Kokei. 133
123. Diving Girl. Wood. Kokei. 133
124. Ox. Ebony. Minko. 134
125. Snail and Pear. Wood. Bazan. 134
126. Badger Priest. Wood. Sukenaga. 135
127. Frogs. Wood. Sukenaga. 135
128. Daruma. Wood. Hidari Issan. 136
129. Grossing the River Sanzu. Ivory. Toun. 136
130. The Dance Wood. Tadatoshi.
of Ranryo. 137
131. Fox Priest. Wood. Komin. 138
132. Doctor’s Model. Wood. Unsigned. 138
133. Bearded Sennin. Wood. Minkoku. 139
134. Diving Girl and Octopus. Ivory. Chokusai. 140
135. Cicada and Pine. Ivory. Bunshojo. 140
136. Blind Man and Bakemono. Wood. Tomokazu. 141
137. A Basket of Monsters. Ivory. Tomochika. 142
138. Boy in Dragon’s Coils. Wood. Minko. 142
139. Basking Frog. Ebony. Tomiharu. 142
140. Sneezing Man. Wood. Gyokkei. 143
141. Sculptor.Wood. Gyokusai. 143
142. Ryujin. Wood. Tametaka. 143
*143. Shoki the Demon Queller. Boxwood. Attributed to Shuzan
Yoshimura. 144
*144. Human-headed Kirin. Cypress. Attributed to Shuzan
Yoshimura. 144
*145. Human-headed Kirin. Cypress. Attributed to Shuzan
Yoshimura. 144
*146. Monkey. Amber. Kaigyokusai. 145
147. Karako on a Drum. Ivory. Gyokuyosai. 146

12 • list of illustrations
 148. Genroku Samurai. Wood. Gyokuso. 146
149. Hawk and Dog. Ivory. Hidechika. 147
150. Setsubun. Ivory. Hidemasa. 147
151. God of Longevity. Wood. Homin.
Jurojin, 148
152. Oguri Hangan and the Stallion. Ivory. Isshu. 148
153. Butterfly Dance. Wood. Gyokuso. 149
154. Senkyo. Wood. Joryu. 150
155. Ariomaru and the Octopus. Wood. Jugyoku. 150
156. Falcon. Wood. Harumitsu. 151
157. Buddhist Gong. Bamboo. Unsigned. 151
158. Kidomaru. Ivory. Chiku-unsai. 152
159. Nichiren. Ivory. Chomin. 152
160. Animals of the Zodiac. Ivory. Kagetoshi. 153
161. Oni. Ivory. Unsigned. 153
162. Shojo. Wood. Kazutomo. 154
163. Oni at Setsubun. Ivory. Kohosai. 154
164. Blind Men Grooming
an Elephant. Wood. Jugyoku. 154
165. Tadamori and the Oil Thief. Ivory. Hidemasa. 155
166. Camellia. Ivory. Kyokusai. 156
167. Monkey. Komei.
Ivory. 156
168. Bat. Wood. Horaku. 157
*169. Toy Dog. Lacquer. Unsigned. 158
*170. Frog and Squash. Hornbill casque. Unsigned. 158
*171. Manju Netsuke. Lacquer inlaid with shell. Unsigned. 158
*172. Oni with a Club. Negoro lacquer. Unsigned. 175
173. Sotoba Komachi. Wood. Masahiro. 176
174. Book-washing Komachi. Wood. Masatami. 176
175. Octopus. Wood. Ikkyu. 177
176. Wild Boar. Wood. Masakiyo. 178
177. Sansukumi. Wood and ivory. Chokusai. 178
178. Gama Sennin. Ivory. Gyokumin. 178
179. Badger and Drum. Wood. Masakatsu. 179
180. Coiled Dragon. Wood. Gechu. 179
181. Kintaro and the Carp. Ivory. Doraku. 179
182. Hotei, God of Happiness. Ivory, wood, and semiprecious
stones. Hojitsu. 180
183. Rokkasen. Wood. Masayuki. 180
184. Sea Horse. Wood. Isshin. 181

185. Bon Odori. Ivory. Minkoku. 182

186. Woman Traveler. Ivory. Minkoku. 182
187. Cow. Ivory. Mitsusada. 183

LIST OF ILLUSTRATIONS • 13
 188. Basket of Fish. Ivory. Mitsutoshi. 183
189. Lion Dance. Ivory. Nobumasa. 184
190. Asahina Saburo. Ivory. Otoman. 184
191. Carp. Ebony. Kiyoshi. 185
192. Woman Blackening Teeth. Ivory. Ryo. 186
193. Foreign Barbarian. Wood. Ryusai. 186
194. Kirin. Ivory. Yoshimasa. 187
195. Cicada on Tile. Ivory. Shigemasa. 187
*196. Okame. Gold lacquer. Kansai. 188
*197. Ink Stick. Black lacquer. Zeshin. 188
*198. Nio and Oni. Boxwood. Soko Morita. 189
199. Skeleton and Wolf. Wood. Shoko. 190
200. Enshi. Wood. Ryukosai. 190
201. Kan-u Mounted. Wood. Unsigned. 191
202. Handaka Sonja. Wood. Soshin. 192
203. Polishing a Bell. Ivory. Shuosai. 192
204. Raijin, God of Thunder. Wood. Rakumin. 193
205. Lion Dancer. Ivory. Shuosai. 193
206. Quails. Ivory. Okatomo. 194
207. Kappa and Frog. Wood. Tamekazu. 194
208. Chokaro Sennin. Ivory. Ryomin. 194
209. South Sea Primitive. Ebony. Unkoku. 195
210. Buddhist Gong. Wood. Kyusai. 195
211. Fugen Bosatsu. Ivory. Gyokuso. 195
212. Noh Dancer. Ivory. Shizumori. 196
213. Abstract Chestnut. Ivory. Ryomin. 196
214. Sleeping Deer. Ivory. Heita. 196
215. Boy and Bird Cage. Ivory. Kojitsu. 197
216. Puppy. Ivory. Dosho. 197
217. Ryusa Netsuke. Ivory. Naotsugu. 197
218. Tiger. Ivory. Otoman. 198
219. Frog on a Mushroom. Wood. Sukenaga. 198
220. Sleeping Student. Ivory. Tomochika. 198
221. Kaibutsu. Wood. Unsigned. 199
222. Noh Mask: Jo. Ivory. Mitsuyuki. I99
223. Clams. Lacquered wood. Tadayoshi. 199
224. Shoki the Demon Queller. Ivory. Yoshinaga. 200
225. Blind Man and Dog. Bamboo. Yurin.
200
226. Ono no Tofu. Ivory. Unsigned. 200

14 • list of illustrations
 Adaptor’s
Preface
Ueda’s Netsuke no Kenkyu is the only comprehensive work
on the subject of netsuke written by a Japanese, with the possible ex-
ception of the small Japan Travel Bureau Tourist Library volume by
Yuzuru Okada. The fact is quite remarkable in view of both the ex-
clusively Japanese origin of the art form and the growing literature on
the subject from the pens of citizens of Germany, England, Holland,
Sweden, France, and America. Herein lies my justification for “doing”
Ueda’s Netsuke. It is high time that the Western collector and student
have an opportunity to see and appreciate netsuke through the eyes of
a Japanese who was himself an enthusiast and collector and who did a
considerable amount of original research into the subject.
By necessity, my work has been that of adaptor and not of trans-
lator. It is extremely difficult, if not impossible, to understand easily
an English version from the Japanese of a book on art unless it is sub-
stantially rewritten. A mere literal translation of many parts of Ueda’s
book would be riddled with lost meanings. The rewriting consists
principally of transforming that which sounds vague to the Western
mind into clear and tangible phrases. To a lesser extent it consists of
minor reorganizations of material and the elimination of some repeti-
tions and irrelevancies. I hope that I have not done violence to Ueda
but that I have, on the contrary, clarified his meanings for the West-
ern reader.
A number of the netsuke illustrated in this book are unsigned. At
least half of all those produced were not signed by their makers. The
custom of carving the artist’s signature is found much more frequently
among the later netsuke artists than the earlier. Another group of the
netsuke illustrated are signed by carvers whose names are not listed
in the biographies that follow the text. The omissions, however, should
occasion no surprise, since the number of artists who carved netsuke

adaptor’s preface • 15
either as a profession or as an avocation probably approached ten
thousand during the Tokugawa and the Meiji eras.
In the text of this book, Japanese personal names are usually given
in the Japanese order: family name first, followed by the given name.
In the case of artists, however, I have made an exception: the name
by which the artist is generally known is printed first and followed by
the family name; for example, Mitsuhiro Ohara. Textual references to
the biographies are indicated by the letter B followed by the number
of the biography. Thus B 779 is Biography No. 779: Nonoguchi Ryu-
ho. This procedure has also been followed in the captions for the il-
lustrations. The names of legendary and historical Chinese figures who
served as subjects for the netsuke carvers are given in their Japanese
versions.
A note on the spelling of certain Japanese names is also in order.
In the old-style romanization, the sounds of ka and depending upon
e,

the characters they represented, were sometimes rendered as kwa and

ye, with the result that names like Kaigyokusai and Ekisei were spelled
Kwaigyokusai and Yekisei. Since such renderings are neither accurate
nor any longer approved by the Japanese themselves, this book uses
the modern spelling. To obviate any inconvenience to the reader who
may be accustomed to the old-style spellings, the names of netsuke
carvers involved in the change are cross-referenced in the biographies
and the index.
The from my own collection; none
illustrations are those of netsuke
are reproduced fromUeda. Textual references to illustrations are also
my own, as are notes and comments regarding the illustrations.
Measurements of netsuke are given in inches and, unless otherwise
indicated, refer to the height of the netsuke.Other explanatory notes
willbe found at the beginning of the biographical section.
Finally, I must acknowledge my indebtedness to those who aided
me in the preparation of the manuscript for the book. My greatest debt
is to my secretary, Mr. Yanagihara Katsuya, whose unstinting assist-
ance made possible my work but deprived him of all normal hours
of freedom. My previous secretary, Miss Inoue Toshiko, now happily
married, was the ground-breaker and pioneer.
I also owe deep gratitude
to Mr. Uchino Shoei, a calligraphist of
scholarly level; to Mr. Ouchi Yasushi, who helped unravel
many a
puzzling point; and, last but not least, to Mr. Imai Kenzo of
Kyoto,

16 • adaptor’s preface
whose practiced eye and innate judgment are the marks of the true
connoisseur.
Mr. Ouchi Jiro and Mr. Nakamura Tokisada, whose respective
noms cT artiste are Sosui and Masatoshi, are almost the last two carvers

in the old tradition whose technical information is always reliable.

I am sure that multitudinous errors will be discovered. I welcome

all communications, whether they are for the purpose of criticizing

or of exchanging information on any aspect of netsuke. Letters to the

publisher will always reach me.

Raymond Bushell
Tokyo Japan
,

adaptor’s preface •
17
 Author’s
Preface
My father loved painting, calligraphy, and curios. He
placed them in alcoves, on walls, and on bookshelves and ended by
regarding his rooms as too small. He always said that to own the works
of great craftsmen and artists, to sit before them, and to appreciate
them is is transported and re-
akin to travel in strange lands; one
freshed. His words were engraved on my mind.
While studying in Kyoto I happened on some tiny carvings in an
old shop. I bought them somewhat aimlessly, but as I examined them
I realized that although these were sculptures in miniature, their

designs were superb, their carving remarkable, and their technical

craftsmanship extraordinary. It was the beginning of my initiation
into a fairyland.
This was the moment
that I became interested in netsuke, and since
that moment have collected them for thirty odd years. I have
I

traveled from Tohoku (northeast Japan) to Kyushu (southwest

Japan) in my avid search for the works of fine carvers. I also devoted
considerable time to a search of all the literature pertaining to netsuke.
I succeeded in discovering only a small number of volumes devoted to
an appreciation of swords but including brief sections about netsuke.
To say the least, much superior accounts were available in countries
of the West. It is most regrettable that the netsuke, a unique product of
the arts of Japan with a history of several hundred years, lacks a single
comprehensive record in Japanese.
One of the differences between sculpture and painting is that
sculpture is much more time-consuming. Nevertheless the financial
reward for sculpture is even less than for painting. It is no surprise
then that the sculptor frequently leads a life of poverty, but it is a
surprise that poverty does not discourage him from a constant striving

for the perfection of his skills. Hence the finest of the netsuke, those

author’s preface • 19
that have been handed down from generation to generation, captivate
one and cause one “to drool three inches.”
I have had the collecting habit since childhood. I collected in turn

paintings, calligraphy, curios, old coins, gold menuki (small metal

plaques attached to the sword hilt as decorations; see Fig. 9), clocks,
and other things. Nevertheless, I have a special love for netsuke, and
I shall never be able to stop collecting them even should I want to

stop. The beauty of sculpturing seen in some netsuke almost transcends

belief. The fascinating subjects portrayed in netsuke come alive in
a panorama of the and customs of the times represented. I can
life

conscientiously recommend netsuke as a rich mine of historical ma-

terial.

My friend strongly urged me to write this book.

Namioka Sonoo
In April, 1934, in complete disregard of my lack of proper qualifica-
tions, I brought out Shumi no Netsuke (Netsuke as a Hobby), but the
supply was quickly exhausted, and the book has been unobtainable
for a long time. People with whom I enjoyed no prior acquaintance
urged me to republish the book. I have therefore added the knowledge
I have gained in my study of netsuke since the publication of my
previous book, and have written Netsuke noKenkyu (Study of Netsuke).
I

I am sure that many omissions and errors will be found, since most

of my time for study was saved at odd moments from my regular

work. I hope my readers will be understanding and will call my
numerous errors to my attention.

Ueda Reikighi
December 8, 1942

20 • author’s preface
Part One: NETSUKE
<1
 1: Netsuke
as Related to the
History of Sculpture
Our deities, since ancient times the symbols of the reli-

gious beliefs of the Japanese, are utterly ethereal. We Japanese adore

and worship our deities as celestial beings. The level of our veneration
is uniquely spiritual. Our worship is of the intangible, being entirely
dissociated from the physical. Nevertheless, according to some tradi-
tions, the divine essence of our gods is embodied in the sacred Mirror,
the Sword, and the Seal and Pendant. It is also said that certain trees
and stones are deified and that occasionally particular mountains or
rivers are venerated as divine. But this is only surmise. However it
may be, the veneration of our deities, being purely spiritual, furnishes
no tangible subject matter for the artist.
By contrast, Buddhism, which was imported into Japan from
abroad, developed on terms of intimacy and even equality between
the divine and man. The saints of Buddhism are commonly repre-
sented in statues which are familiar to their followers. They are re-
garded as neighbors although worshipped.
Each of the various representations of Buddha has its individual
characteristics.For example, the Buddhas of Love and Grace bear
an expression to reassure even timid women and little children, while
the Buddhas of Wrath and Vengeance inspire fear and dread. The
representation of various expressions requires careful study and a per-
fection of techniques.These various expressions have been accom-
ways at different times and places.
plished in different
Of course Buddhist art was introduced into Japan along with
Buddhism. Not only was excellent Buddhist sculpture imported, but
prominent sculptors from abroad sojourned in our country. In this
way, Buddhist art gradually developed and eventually attained its
full flourishing.

In the Nara era (710-793), especially during the Tempyo period

AND THE HISTORY OF SCULPTURE • 23

 ;

(729-748), Buddhist sculpture reached the zenith of its development,

a perfection of which we can be proud in the eyes of the world. Many
of the Nara statues are marvels of a rich, rounded refinement and
spirituality.In this period most of the statues represent Kannon
(goddess of mercy), Yakushi (deity of healing), Miroku (deity of re-
incarnation), Shaka (Buddha), Amida (deity of endless life), Nikko
(sun god), Gekko (moon god), and others. These have gentle, soulful
countenances of an unusually high standard.
As time passed, Buddhist sculpture of later periods became over-
stylized and suffered a deterioration. However, in the Kamakura era
(1186-1334) a remarkable renaissance in sculpture took place. This
renaissance had two aspects. One was a new form resulting from
intercourse with China and was marked by a strong Chinese influence
the other was a revival of the style of the Asuka era (552-645) and the
Tempyo period. The Kamakura era was the time of knighthood, with
the military in complete control of the government. No wonder that
violent figures such as the Nio —
Deva kings or temple guardians (see
Fig. 3) —
at the Nara Todai-ji, and Tentoki and Ryutoki (lantern-
holding ogres) at the Kofuku-ji were in style.
After reaching a high level of achievement during the Kamakura
period, sculpture declined until the Momoyama era (1574—1602),
when a remarkable innovation occurred. In this period architects
promoted a new use for sculpture: the decoration of their edifices.
Other uses for carvings were found in Noh masks (Figs. 4, 41, 85, 87,
and 222) and in sword ornaments and furnishings (Figs. 6-9), which
were required to meet a growing demand.* On the other hand, the
carving of Buddhist images stagnated in reproduction and repetition.
The Tokugawa era (1603-1867, also known as the Edo era) continued
the trends of the Momoyama era with even greater emphasis. For
example, the entire Nikko Byo Shrine is a mass of carved figures and
decorations.
* In the Noh drama, the principal characters usually wear
masks. Since there are well
over one hundred masks for the various characters in the plays, identification is often ex-
tremely difficult. There is also some confusion among the masks intended for the
Noh
and those used in Gigaku and Bugaku, which are other more ancient forms of music
and dance dramas. Add to the already existing uncertainties the variations and quirks of
the individual netsuke carver, and it is no wonder that only the more common
and dis-
tinctive mask netsuke such as Hannya (female demon) and Okina (good old
man) can
be readily identified.
Figs. 4, 41, 85, 87, and 222 represent Noh masks. Figs. 5 and 88 show netsuke

24 • NETSUKE
 Wood predominates in our country as the favored material for
sculpture, and more of it is used than of all other materials combined.
This preference for wood is peculiar to Japan. The reason may be that
our country produces a variety and quantity of woods of superb
quality. An analogy is found in Italy, whose quarries furnish an abun-
dance of fine marble and whose artists have created stirring sculpture
in marble since ancient times.
We can be proud of the perfection to which sculpture was brought in
the Nara and Kamakura eras. However, the carvings produced in
those periods were for the most part made by foreigners (Chinese),
and even those made by Japanese usually imitated the techniques of
China and the Chinese. During the Tokugawa era, as is well known,
the shoguns excluded foreigners and prohibited foreign influences,
including Christianity. Under this enforced isolation the artcrafts of
Japan, freed of foreign influences, developed strong national character-
istics. By the term artcrafts, I mean delicate miniature art work.

From ancient times, the Japanese have been blessed with a nimbleness
of finger, and their artcrafts are characterized by an exceptional
delicacy, preciseness, and exquisiteness.
Our country issurrounded by the sea; we are an insular people.
Our absorption in the production of miniature objects has been rela-
tively free from continental influences. The skill of the Japanese in
the production of delicate and exquisite handwork is attributed to
their partiality for the diminutive and to the digital skill that they
acquire from infancy in the manipulation of chopsticks.
Spurred by national preferences and abilities, the development of
miniature works of art such as sword furnishings, woodblock prints,
netsuke, and inro (Fig. 2) took place naturally. Such works of art are
the essence of Japanese taste. They not only represent the great art
of the Tokugawa era, but no exaggeration
it is to say that they repre-
sent the native artistic tradition of Japan.

imitating masks for the Kyogen, the comical interludes of the standard Noh perfor-
mance. 65 and 84 represent Gigaku masks.
Figs.
Many netsuke carvers simply sought to amuse. Their masks are merely funny faces that
do not represent characters from any of the classic dramas or dances (Fig. 43.) The
comment for Fig. 154 includes an explanation of the amusement netsuke. Chapter 7 also
contains information on netsuke of this type.
The fashioning of metal sword ornaments is one of the miniature art forms for which
—along with netsuke, lacquer, —
prints, and others Japan is famous. Figs. 6-9 illustrate
the

principal sword decorations mentioned in the text.

AND THE HISTORY OF SCULPTURE • 25

 Although we occasionally find handicrafts vaguely similar to our
netsuke in other countries, we and
practically never find the delicate
precise carving characteristic of netsuke. In Western countries we do
find coins and paper currency of minute design, but this is a most
limited application of the miniature art form.
It is quite evident that no other country has so fostered the develop-
ment of miniature carving as has Japan. Hence netsuke represent the
pure, the absolute, the characteristic, the traditional, and the unique
inJapanese art. The true value of the netsuke is grasped when it is
regarded as a representation of pure Japanese taste.
To understand the Nara and Kamakura eras under the flourishing
of Buddhism, we study the Buddhist art of those periods, and to un-
derstand the rich tastes of the warrior class of the Momoyama era,
we study the sumptuous architectural carvings of that period. In the
same way, to understand the character of the Edo era, when Japan
enjoyed a time of serene development free of outside influences, we
should study the popular growth of the netsuke.
In the history of sculpture in Japan, the netsuke represents a most
important aspect. Nevertheless, the Japanese tend to ignore the study
and appreciation of netsuke. They should consider the fact that
foreigners alone value netsuke highly. Many making
foreigners are
studies of them and By means of ne-
are assembling fine collections.
tsuke, foreigners learn about Japan and introduce Japan abroad.

26 * NETSUKE
2. Inro and Netsuke. (Lacquer. Diameter of netsuke: 1 3 / 8 ". Unsigned.) Inro,
ojime, and netsuke of fine tsuishu (cinnabar) lacquer. Tsuishu is a uniform red
lacquer which is built up of many successive layers to a thickness sufficient for relief
carving. The design on the inro is that of a mounted archer starting off on a hunt.
The reverse side (not illustrated) shows a mounted hunter smoking and relaxing
after the chase. The ojime (sliding bead for loosening or tightening the cords) is

decorated with a plum-blossom design. The netsuke is a manju comprising two

equal fitted sections and has a design of karako (happy Chinese boys) spinning tops.

27
3. Temple Guardian: \io. (Cherry wood. 2 5 / 16 ". Signed: Miwa yearns for Ao-
yama in Kofu Province. 15 710.) The Nio stand guard in pairs at either side of the

entrance at the outer gate of Buddhist temples. They are massive, fierce, and awe-
inspiring. Their function ward off demons and evil spirits. The pair represent
is to
the dual principle of nature: male and female, material and spiritual, right and left,
etc. Thus the mouth of one Nio is open, the mouth of his companion closed. In

sequence they utter the sacred Sanscrit word “a-um.”

28
 V
4. Non Mask: Okina. (Boxwood. 1
13
/ 16
".

Signed: Shugetsu. Kakihan. B 1042.) The ne-

tsuke represents a mask of Okina, a good old
man. Simulated mask strings are carved on the
reverse side for attachment of the inro cord.
This touch of realism is an instance of the carv-
er’s conscientious attention to detail. For a rep-
resentation of the dance of Okina, see Fig. 212.

5.Kyogen Mask: Buaku. (Wood.

1 ". Signed: Hozan saku. B 290.)
1
/2

The mask of Buaku, a courageous but

^evil man, or sometimes a devil, is used
in the Kyogen, the comic interludes
in the Noh theater.

29
 6. Tsuba. (Silver bronze. Signed: Mitsu-
hiro. Kakihan.) The tsuba is the sword
hilt or guard that protects the wielder’s

hands from the sharp edge of the blade.

The design shows Kanshin, the Chinese 7. Kozuka. (Gold bronze. Signed: Ki-
statesman, crawling between the legs of kuoka Mitsumasa. B694.) The kozuka
a ruffian rather than demean himself by is the dagger carried in the scabbard
engaging in a brawl. of the two-handed sword. The design
pictures goats in gold on a nanako
(simulated fish roe) ground.

8. Fuchi and Kashira. (Silver bronze

with designs inlaid in various metals.
Signed: Made by Katsumori at Atago-
shita in the eastern capital [Tokyo].)
The fuchi and the kashira (collectively
called fuchigashira) are used for attach-
ment to the top and the bottom of the
sword handle. The kashira shown here
portrays Narihira, one of the six great
poets of 9th-century Japan, on his way
to exile as punishment for an intrigue
with the empress. The design on the fu-
chi is a rural scene that Narihira might
have observed along his route: the
pounding of mulberry bark with a
wooden mallet to make cloth.

30
 9. Menuki. (Various metals. Signed:
Tomonao and Kosetsu.) Menuki are
paired decorations for attachment to the
handle of the long sword. Represented
here are Kan-u (with a long beard) and
Chohi (with a parted beard), two famous
Chinese military strategists of the Han
dynasty. For individual illustrations of
Kan-u and Chohi mounted, see Figs.

201 and 52 respectively.

10. Kagamibuta Netsuke. (Wood and

metal. Diameter: 1
V'- Signed: Na-
tsuo. B 757.) The bowl section is in wood,

the metal lid in gold. The design of a.<

moth in flight is achieved by delicately
raised gold lines simulating the lacy
veins of the semitransparent wings.

11. Kagamibuta Netsuke. (Ivory and

metal. Diameter: 1
7
/ 16
". Unsigned.) An
unusual form of kagamibuta. The
“bowl” is a simple ivory base with a
shallow excavation to conform with the
shape of the metal “lid.” The subject
portrayed is the story of Moso, one of the
Twenty-four Paragons of Filial Piety,
known in Japanese as the Nijushiko.
Moso dug bamboo shoots in the dead of
winter to satisfy a craving of his moth-
er. The metal part of the netsuke is

decorated in gold, copper, silver bronze,

and gold bronze. See text, page 56.

31
 V
12. Kagamibuta Netsuke. (Wood and metal. Diameter:
1
1 ". Signed: Mitsunaga to.) The bowl part is wood. The
/2

metal plaque or lid fits into the bow). The outlines of the
design, which portrays the chivalrous hero of the Kabuki
drama Shibaraku, are gouged or incised in the metal. The
actor’s face, hairdress, and kimono are decorated in gold,
silver, silver bronze, and gold bronze, which are inlaid flat.

13. Kagamibuta Netsuke.

(Ivory and metal. Diameter:
7 ,/
1
/8 . Signed: Eisai. Kaki-
han.) The netsuke comprises an
ivory bowl and a metal lid ap-
pliqued in gold, silver, copper,
silver bronze, and gold bronze.
The design is that of a demon
collecting alms in the name of<«
Buddha and entering the
names of the donors in the sub-
scription lists. This is a repre-
sentation of the Japanese say-
ing, “Oni no nembutsu” (a
demon’s prayers to Buddha),
which refers to pretended vir-
tue and hypocritical conduct.

32
14. Manju Netsuke. (Ivory. Diameter: 2 7
l(i
". Unsigned.) A solid ivory mariju

fitted on the reverse side with a metal ring for attachment of the cord. The design,
in relief, portrays Sasaki Takatsuna racing his fellow officer, Kajiwara Kagesue,
across the Uji River in the face of a storm of arrows in order to be the first to meet
the enemy. This large and heavy netsuke was probably used by a sumo wrestler
Sec text, page 56.

33
 :

15. Manju Netsuke. (Ivory inlaid with

gold and other materials. Diameter:
1
1
/2
". Signed: Ryumin. B 861.) An
ivory manju comprising equal halves in-

laid with gold, copper, silver bronze,

malachite, opal, and tortoise shell. The
design portrays the famous Taoist, Sha- 16. Ryusa Netsuke. (Ivory. Diameter
en, as a young student too poor to buy 1
5
/8
". Unsigned.) A ryusa netsuke
oil for a lamp. He gathered glowworms completely perforated to create an all-

into a bag which he suspended from a over design of famous family crests

pole and studied by their faint glow. (mon). See text, page 56.

17. Kirin. (Rhinoceros horn. 1

13 " long. Unsigned.)
/ lfl

A rare rhinoceros-horn netsuke in the form of a smiling

recumbent kirin. For another example and comment on
the kirin see Fig. 194.

34
18. Manju Netsuke. (Ivory. Diam-
eter: 1
13
/ 16
". Signed: Ono no Ryo-
min. Kakihan. B 837.) An ivory
inanju comprising two equal fitted

sections. On the inside of the top sec-

tion is an eyelet to which the cord is

attached and passed through a hole in

the bottom section. The raised design

represents Tokiwa Gozcn fleeing from 19. Kagamtbuta Bowl. (Ivory. Diam-
15 ".
the Taira soldiers with her three sons,
eter: 1
/ 16 Signed: Oju Gyokuzan

the youngest of whom became the

saku. B 164.) An excellent example of
the superbly carved ivory bowl referred
famous Yoshitsune.
to on page 56 of the text. The design is

a conglomerate of symbols and signs of

good fortune, happiness, and long life

(takarazukushi). Ho- Among them are

tel’s bag of toys, Daikoku’s hammer,

Jurojin’s fan, happy Chinese boys, a

scroll of wisdom, a sea bream, a dragon,
a crane, and a turtle. Hotei, Daikoku,
and Jurojin are three of the Seven Hap-
py Gods of China and Japan. Hotei re-
presents happiness; Daikoku, wealth;
and Jurojin, longevity.

20. Sasiii Netsuke. (Staghorn. 4 3 " long. Signed: Koku,

/g

in a characteristic seal form standing for Kokusai. B 527.)

An elongated monkey designed to be worn thrust into the
obi, the cord being attached to the hole pierced between
the paws and under the monkey’s chin. See text, page 56.
For another type of sashi netsuke, see Fig. 26.

35
 i

\
1

21. Ash-Tray Netsuke or Kurawa.

(Metal. 5 ". Unsigned. See
1
/8 B 574.)
An ash-tray netsuke in the shape of a pot
and lid, made of metal. It is decorated
with a cartouche on each side, one of
blossoms, the other of grasses. It was cast
by the lost-wax process and is the “one
of a kind” design made by Kyubei and
referred to in the text on pages 66 and
76.

22. Manju Netsuke. (Copper wire.

3
1
/8 ' long. Unsigned.) A maniu netsuke
comprising two equal fitted sections
woven of flat copper wire in black
tightly
and brown to form a geometric pattern.
The wire is woven in large sections and
then cut to fit the body of the netsuke,
to which it is bound by a metal rim.

23. Woven Metal Netsuke. (Gold-

bronze wire. ®/ " long. Signed: Dai-
w 1

sen. B 64.) An open metal basket (chiri-

tori) made of strands of
flat and round
^
gold-bronze wire decorated with cherry
blossoms, buds, and stems. The chiritori
is used in the garden for gathering leaves
and twigs.

36
24. Ash-Tray Netsuke. (Silver bronze. 2".
Unsigned.) The netsuke is in the shape of a
Buddhist temple bell. This type of bell has
dapper but sounded by swinging a
is

Ryusa Netsuke. l "

hea/y log suspended by ropes against it. 25. (Ivory. 1
/i

long. Unsigned.) A ryusa netsuke

carved with an allover design of
Buddhist articles and symbols, some
of which are the gong, the bell, the
whisk, the rosary, the lotus plant,
and the urn.

26. Sashi Netsuke. (Staghorn. 4 7 " long.

/8

Signed: Kokusai. B 527.) A variety of sashi not

described in the text. The part decorated with
the double magatama (comma-shaped jewel)
design is clipped on the upper edge of the obi,
the cord passing through the cord holes (himo-
toshi) in the leaf design at the bottom and sup-
porting the hanging object.

37
 • * i\

WktfMP* nil JiMUUw

'i-'Wtfidiijt
-$
*
*
.
t*
M ^ * ** r j.

*» 27. Teapot. (Cane. 1

i/ ".
g Un .
signed.) A finely woven cane teapot
with loose ring handles
and lid. The
cord is atta hed through
an eyelet
on the inside of the J id.

28. Basket.
(Wisteria
vine * 1
V2 ". Signed:
Ryuryusai saku.) A ne-
tsuke woven of wisteria
vine into a miniature M
rep-
lica of the huge
baskets
used foi hauling rocks
and for damming rivers.

38
 20. Xara Ningyo. (Painted wood.
2 l
". Signed : Tocn. B 1177.) The
/4

design of this painted wood netsuke is

that of a Noh actor. The carving was
executed with a single knife (itto-

bori), and this accounts for the rough,

angular surface. See text, pages 114
and 123, for Nara ningyo and page
74 for ittobori.

3 ".
30. Leaf-clad Sf.nnin. (Bone. 4 /8

Unsigned.) A powerful carving of a

sennin (a class of Chinese “immortals”
who live as hermits) wearing a coat of
mugwort leaves. The coat of leaves is a
common attribute of the sennin. The
figure balances on one foot and thus
passes one of the tests of a good netsuke.

39
31. Kinchaku and Netsuke.
(Netsuke- hnn*- 9 1 / // 1 c
.

on £* Signed:
kinchaku (purse) is made of

of a crane upon Jhich th

A

aCq “ ered ln
,

^
ra,sed
^
2 Chinai.) T
ne ' SUke “ the“1 fc

legend: “Made by China'

1841] from the leg of a'cranT
t”
'

t h™h°
^ ^^
00 ' he
“P ""*”
S old characters the follow!
° f autumn [November 1

hke casque
Sof
yellow coloration.
he
1

^
The
3 CharaCteriStk br ght
ojime is made of the ivor
'
a'
Compat Fi^ 170.

40
 //
32. Tobacco Pouch and Netsuke. (Netsuke: ivory. 2 long. Signed: Kaigyokusai
Masatsugu. B 430.) The pouch is made of soft woven bamboo strands. The clasp, in
ivory, is an octopus with eyes inlaid in yellow mother-of-pearl and black coral.

It is signed on the back section: Kaigyokusai Masatsugu. The netsuke, also in ivory

and likewise signed, represents an oyster encrusted with a few barnacles. The two
halves of the oyster open to reveal a minute carving ol temples, gates, and trees
under floating clouds. The ojime is colored glass.

41
 33 . Crab and Lotus Leaf.
(Tortoise shell. 2 3 " long. Un-
/4

signed.) A tortoise-shell netsuke

representing a lotus leaf support-

ing a crab. It is carved of one
piece. The cord hole is fashioned
at the natural separation of the

tortoise’s upper and lower shells.

"
34. Deer. (Stone. 2 l
/ 2 long. Unsigned.) A recumbent deer made
ol a “soft” stone of light grayish bull color. Inlaid eyes. Stone netsuke
are extremely rare and are for use only with leather or cloth tobacco
pouches, purses, or other unbreakable sagemono.

42
35. Kendo Mask. (Silver and
silver bronze. 1
1 ". Signed:
J2
Masayasu saku.) A finely
wrought metal netsuke in the*
form of a kendo (Japanese
fencing) mask.

36. Hotei, God of Happiness.

(Porcelain. 2 Vs • Signed with the
brand of Ninsei. B 761.) Hotei,
wearing a kimono decorated with
a design of Chinese characters,
carries his treasure bag on his

back. See text, pages 76 and 1 15.

43
37. Gourd Netsuke. (Natural gourd.
2 3 / g ". Unsigned.) A
natural gourd clever-
ly selected and fitted with a stopper in the

form of a bird beak to imitate a young T

3
bird. The infinite variations of the gourd 38. Cicada. (Bamboo. 1
/ 1(
." long.

shape are the basis for its enduring appeal Signed: Hoshin. B 274.) A stylized
as a netsuke. See text, page 60. The cord cicada made of bamboo that has
is attached by tying it to the narrow waist been treated and preserved by smok-
of the gourd. ing. See text, page 77.

39. Snake and Frog. (Ivory.

1
1 " long. Signed: Masatsugu.
/4

B 633.) In this representation of

a snake crushing a frog, the frog
is almost entirely concealed in

the snake’s coils.

44
 41. Non Mask: Kumasaka (?). (Wood. 1
5
/8
".

Signed: Deme Joman. B 69.) This Noh mask, prob-

ably that of Kumasaka, was presented as a gift to F. M.
Jonas, the author of the first book in English on the
subject of netsuke, originally published in 1928 and
40. Daruma. Wood. 2 5
/8
". reissued in 1960. Mr. Jonas wrote as follows when he
Signed with a kakihan in turn gave the netsuke to the book in
adaptor of this

widely established as the Kobe, Japan, during the early months of 1946: ‘The ;

written seal of Toen. netsuke (wooden mask bearing the name of Deme
B 1177.) The netsuke rep- Joman) had been the property of the Taira Inaba
resents Daruma (Bodhi- Mono no Kami Masanori, the lord of the feudal castle
dharma) and is carved in of Odawara in Sagami County, who died on the 13th
angular surfaces in the day of the 9th month, 1 3th year of Genroku ( 1 700) and
ittobori style. See Fig. 29 a part of whose remains were buried at the cemetery
for another example of a within the compound of the temple Kofuku-ji, Gyo-
netsuke by Toen. to-san, Mukojima, Edo (Tokyo). In July, 2nd year
of Showa (1927), the cemetery was removed due to
a town planning extension scheme and the grave
opened. Several articles of interest were recovered
and among them was found the above netsuke, which
was presented to F. M. Jonas through the courtesy of
Viscount Inaba, his [Masanorrs] direct descendant.
The authenticity of the article and the date of the
period of the carver can thus be verified.”

45
 43. Funny-face Netsuke. (Natural wal-
nut. 1
5
/g
//
. Unsigned.) A walnut carved
in relief on both sides in designs of hu-

morous faces. The side illustrated (the

back) represents no standard theatrical
mask. It was carved for amusement.
42. Stone Netsuke. (Natural stone.
The nostrils of the face form the himo-
3 13 " long, with chain. Un-
/ 16
toshi. See footnote, pages 24-25, for a
signed.) An unusual netsuke: a natu-
few comments on mask netsuke.
ral black stone to which is attached
a wooden link chain fashioned
from a single block. The manner by
which the chain is attached to the
stone is artfully disguised. See Fig.
34 for comments on the use of stone
netsuke.

44. Chrysanthemum. (Leather. Diam-

eter: 1
l
/2
". Unsigned.) A leather netsu-
ke in the form of a stylized chrysanthe-
mum of sixteen petals, the petals variously
colored. The cord is attached by a metal
ring.

45. Fujimame. (Natural wisteria bean.

l " long. Signed:
2 l2 Carved by Shunyo.)
The netsuke is made of a dried fujimame^
or wisteria bean. The etched designs of
turtle, crane, and pine trees are all sym-
bols of longevity.

46
 46. Bakemono. (Black coral.
2 5 /g". Signed: Chomin.) A ba-
kemono with pendulous tongue
and bulging eyes terrifies the
child cowering at its feet. Bake-
mono aredemons and fiends of
fantasy. They are distinguished
from ghosts in that they have
legs and are not the spirits of
deceased human beings. As with
Noh masks, the distinguishing
characteristics of various bake-
mono have been lost with time
and through The
artistic license.

bakemono represented here is

probably the giant Mikoshi. The
subject of the hyakki (one hun-
dred demons) has been used by
many artists.

47. Malachite Netsuke (Mal-

7 ". Un-
achite and silver. /1
1(}

signed.) A rare netsuke of pol-

ished malachite to which are at-

tached silver fittings in the design

of cherry blossoms. The cord is

attached by means of a silver

ring.

47
48. Gong. ( W ood. 3". Unsigned.)
The netsuke represents a gong of Chinese origin
decorated with Buddhist and Taoist symbols.
According to Chinese lore, the dragon
and the shishi portrayed here are animals
of good omen. Similar designs of Chinese
gongs are sometimes found in jade.

48
 49. Gourd Netsuke. (Wood.
1
3
/4
". Unsigned.) A gourd-
shaped netsuke, artfully fash-

ioned from wood to simulate

leatherand fitted with a metal

stopper and a ring for cord
attachment.

long.
50. Sake Gourd. (Wood; various inlays. 2 Vie"
netsuke
Signed: Tokoku. B 1184.) A gourd-shaped

realistically simulating a sake container in a knotted-

cord carrying net. The netsuke is inlaid with various
materials, including ebony, ivory, glass, and boxwood.

49
51. Seal Netsuke. (Wood. 2 3 /,,". Unsigned.) The
shishi sits on a human-headed snake. The seal itself
is carved with a Chinese character meaning pleasure.
The design is of Chinese origin but was made by a
Japanese carver in imitation of the Chinese style.
See text, pages 61-62.

T
7
52. Choiil (Ivory. 1 /s
". Signed: Shogetsu. Kaki-
han. B 988.) Chohi, one of the three famous Chi-
nese military strategists of the Han period, mounted
with a bared halberd. The other two of the trio are
Kan-u and Gentoku. Sec Figs. 9 and 201 for other
illustrations of Chohi and Kan-u.

50
53. Filial Piety. (Ivory.
1
l3
/ 16
". Signed: Doraku. B 85.)
In this portrayal of filial devo-
tion, a dutiful son happily
guides the steps of his old blind
father. The subject is a Chinese
one adopted by the Japanese,
although it is probably not
included among the Nijushiko
(Twenty-four Paragons of Fili-

al Piety). For other portrayals

of filial piety, see Figs. 1 1 and
200 .

54. Seal Netsuke. (Wood. 1

3 " long Signed: Kyusai.
/4

B 576.) A seal netsuke in the shape of an arm and a three-

fingered —
hand an allusion to the heroic exploit of
Watanabe no Tsuna, who cut off a demon’s arm at the
Rashomon gate in Kyoto. The seal impression reads
“Gansho,” which is most probably an art name.

51
 55. Karako. (Ivory. 1 1 / 2 ".
Signed: Anraku Shukosai. B 2.)
A happy Chinese boy (karako)
astride a water buffalo. As with
many nationalities, the easiest

way to distinguish Chinese

subjects from Japanese is by an
examination of their dress.

56. Goki. (Ivory. 3 ".

2 / 16

Signed: Shokyokuken.) This

netsuke represents Goki, the
Chinese militarist who slew his
wife to demonstrate his loyalty
to his country when it was at
war with hers. Her ghost
haunted Goki to his death.
Here he attempts to force the
ghost back into her grave.

52
57. Sake-Cup Netsukf.. (Ivory. Diameter: 1
7
/ l0
". Un-
signed.) A sake-cup nctsukc in a petal design probably
inspired by Chinese Sung porcelain.

58. Dagger Netsuke. Lacquered wood.

^
5 b./' long when
closed. Signed: Keiraku.) This netsuke is shaped like an
elongated dolphin (shachihoko), the mythical animal
whose figure often decorates the roofs of castles— notably
Nagoya Castle, where two immense golden shachihoko
surmount the gables. The netsuke is made of wood cleverly

lacquered to simulate iron and bears the artist’s signature

in red lacquer.

53
59. Bukan Zenshi and Tiger. (Boxwood. 2 1 / 2 ,/ Signed: Shumemaru Unjudo.
.

B 1058.) The subject is Bukan Zenshi, a famous priest of 7th-century China, who
is portrayed, as usual, accompanied by a tiger. Note the fraternal resemblance of
the tiger to the priest, an example of the humor with which the Japanese frequently
treat their holy men. The netsuke itself is not signed, but it has an original box
signed Shumemaru Unjudo.
 2: The Netsuke
and
Its Types
The article called netsuke originated in the old days from
the custom of attaching a toggle to one end of a cord that passed be-
tween the obi and the hip and that had at its other end a sagemono (sus-
pended object) such as a bunch of keys, a kinchaku or purse (Fig. 31), an
inro (Fig. 2), a tobacco pouch (Figs. 1 and 32), or some other type of
single hanging object to which the general name of hitotsusage was given.
In the Wakun no Shiori (Dictionary of Classical Japanese) the netsuke
is defined as “a small hanging object.” In the Soken Kisho (Apprecia-
tion of Superior Sword Furnishings) it is explained that the word
netsuke was used in ancient books to designate objects attached to the
cord that suspended the sagemono. In other references, netsuke are
called obihasami (the clip or clasp illustrated in Fig. 26), or sometimes
the Japanese syllables “ne-tsu-ke” are given as the reading for the
Chinese characters MT- (small object for adornment) or HT
(small
hanging object). In the Meibutsu Rokujo (Six Volumes of Noteworthy
Objects) the characters (suspended weight) are used. In China,
netsuke are not commonly used in the same manner as in Japan.
The Chinese, however, use objects similar to netsuke and write the
names of these with the characters MM (suspended weight) or #,[§£

(wear suspended) or sometimes the characters MU (wear hanging) or

Mil (wear dropped). Netsuke are also called obiguruma (disk) or obi-
guruwa (link).

Should the word netsuke be written IS ft or |SPft? It is understood

that Jf means “to suspend” and Pft means “to attach.” Accordingly
the word netsuke should more properly be written ISPft. In most cases
in the old books, however, it is written IS fit. In this book I use the
characters IS ft to accord with the weight of precedent and custom.
Netsuke are generally classified into such types as katabori, kagami-
buta, manju, and ryusa. Katabori are netsuke carved in the form of
 t

human beings, animals, or groups of these. Kagamibuta (called kana-

buta in the Kyoto and Osaka bowl-shaped netsuke, usually
areas) are
of ivory, bone, or horn, with a second part consisting of a metal lid
or cover made of various alloys. On the reverse side of the metal disk
there is an eyelet for attaching the cord, which is passed through a
hole in the bowl-shaped part. The design of the metal disk is achieved
by various techniques: etching, inlay, and relief (Figs. 10-13). The
merit of the kagamibuta lies more in the working of the metal disk
than in the carving of the bowl. Occasionally, however, one finds a
superbly carved ivory bowl (Fig. 19). The carving of the disk was
usually done by metal artists, some of whom are famous.
Manju netsuke are made of ivory, horn, wood, bamboo, and other
materials and are usually round and flat in the shape of the cake called
manju. One type of manju netsuke is solid, and the decoration is ap-
plied to the surface of the material by etching or relief carving (Fig.
14). Another kind of manju consists of two equal sections fitted together
(Figs. 15 and 18). Manju netsuke are also sometimes square or oval in
shape. For the attachment of the cord, a metal ring is sometimes af-
fixed, or holes are made in the material itself.

Ryusa netsuke and bird

are actually a variety of manju. Flower
designs or arabesques were fashioned by cutting and perforating the
material (Figs. 16 and 25). When it was made of two sections, the
ryusa netsuke was frequently hollowed out by use of a lathe. This
technique was used particularly in Edo, where a man named Ryusa
(B. 870) was the first to make this type of manju. His name has now
been adopted to designate the entire category.
Sashi netsuke are elongated netsuke with cord holes at one end. This
type of netsuke is worn thrust inside the sash (Figs. 20
and 26). It is
usually considered to be a variety of netsuke, but there is an adverse
opinion which regards it as a form of dagger handle for use with a bag
in which flint and steel were carried.
Ichiraku netsuke are gourd or other shapes made of braided or
woven bamboo, cane, or wire (Figs. 22, 23, 27, and 28). Kurawa or
ash-tray netsuke are named for their use, and this type of netsuke actu-
ally serves as an ash tray (Figs. 21 and 24).
Many categories of netsuke are named according
to their particular
designs or characteristics. Typical of these are the ningyo or dolls
(Figs.
29, 61, 68, and 114) and the men or masks (Figs.
4, 5, 41, 65, etc.).

56 • NETSUKE
 Netsuke are often classified according to the material used : wood,
ivory, bone horn (Fig. 17), tortoise
(Fig. 30), shell (Fig. 33), porcelain
(Figs. 36, 89, and 91), metal (Fig. 35), stone (Figs. 34 and 42), peach-
stone, nut (Figs. 43 and 45), lacquer (Figs. 119, 169, 172, etc.), bamboo
(Figs. 38 and 157), coral (Figs. 46 and 117), amber (Fig. 146), and
others (Figs. 44 and 47). They are also classified according to artist or
school, date or period, subject matter, and other features.

types • 57
 3: The Origin
and Development
of Netsuke
The individual in Western clothing has more than ten
pockets convenient for carrying things, but the individual in Japanese
kimono has no pockets, nor is there any provision for carrying a
tobacco pouch, a purse, an inro, or any similar article. It therefore
became the custom to carry such articles between the hip and the
sash, and even swords were worn in this manner. One may say with
assurance that the absence of pockets was the necessity that mothered
the invention of netsuke.
The netsuke is not used independently but together with a pouch
or sagemono. It istherefore advisable to study the sagemono prior
to discussing the origin and development of the netsuke. The oldest
sagemono mentioned is the flint bag (hiuchi-
in the ancient chronicles
bukuro). It is recorded that Prince Yamato Takeru, on the occasion
of his departure to subjugate the “eastern barbarians” (Ainu), visited
his aunt, Princess Yamato Hime, who was serving at the Ise Shrine.
She presented him with a sword to which was attached a flint bag
which the prince put to good use on the battlefield.
During the Fujiwara era (889-1185) a flint bag was generally car-
ried by the traveler in order to build fires through the night for protec-
tion against the attacks of wild animals both in deep mountain recesses
and open plains. Yoshiie Hachiman Taro, a famed general of the
Genji clan, in a picture scroll of the War of Gosannen, is depicted
carrying a flint bag. The flint bag was usually carried suspended from
the handle of a small sword.
In the Kamakura era the purpose of the flint bag was extended to
the holding of money and medicine in addition to flints. The Taihei-ki
(Chronicle of the Wars ofBumpo [1317-1318] and Shohei [1346-1369])
relates that Fujitsuna Aoto inadvertently dropped some small coins in
the Nameri River, that theamount was ten coppers, and that it was

58 • NETSUKE
lost from a flint bag. Rosaries, known as juzu (Fig. 182), were also
carried in flint bags. Despite the designation “flint bag” its actual use
was substantially the same as that of the pouch.
There is a series of picture scrolls of the Mongol invasion that pre-
serves for posterity the great exploits of this battle. On February 9,
1293, Suenaga Takezaki Goro Hyoe-no-jo, who defended Japan
against the Mongol invasion, commissioned Nagataka Tosa, a famous
artist of the period, to portray the stages of the battle. In one of the
pictures constituting the scroll, a scene in which Suenaga reports to
Akita Yasumori at Kamakura, an attendant is depicted wearing a flint

bag attached handle of a short sword. This custom continued

to the
into the Tokugawa when small bags similar in style to the
period,
flint bags and decorated with grass patterns were frequently worn

solely as adornments. They were usually carried empty.

As time passed, several variations of the flint bag developed; for
example, the kinchaku (purse), the doran (leather wallet), and the
inro. The flint bag carried by the Himeji clan was described as be-
longing to the Yoritomo style. Since the Yoritomo style is understood
to comprise a diamond-shape netsuke attached to an open bamboo
pouch, detailed historical research by scientific methods is necessary
determine whether netsuke were in use in the time of Yori-
in order to
tomo (1148-1199) and, if so, whether they were in existence prior to
that time.
It may be that the name kinchaku originated in the Momoyama
period. A detailed description found in the Jiseki Goko (Historical
Commentaries) reveals that during his retirement Tokugawa Ieyasu
went hawking wearing a silk garment with pongee padding, a coat
made of woven Kokura cloth, a leather purse, and a black Nagato
inro with a gourd netsuke. (Nagato was a technique of weaving and
lacquering paper string.) Obviously since the names kinchaku, inro,
and netsuke were current in the Tokugawa period, the use of netsuke
must have antedated the period. One gathers that in the early stages
of its history the netsuke was often in the form of a gourd (Figs. 37,
49, and 50).
The Kabuki %oshi owned by Marquis Tokugawa Yoshichika is a
horizontal scroll that illustrates and describes scenes from the Kabuki
theater of Keicho (1596-1614). Its gorgeous coloring is characteristic
of the Momoyama style. In the last scene of this scroll two actors occu-

ORIGIN AND DEVELOPMENT • 59

py the center of the stage, one leaning on his sword, the other strutting
at his right; both wear purse, inro, and gourd, which are attached to
the obi by means of links (obiguruwa). The accuracy of this picture
is corroborated by indications in the Kabuki Koto Hajime (Roots of

Kabuki) that in Bunroku (1592-1595) Okuni wore a pouch when she

danced for Hideyoshi at a command performance, and by indications
in the Kazan Bunshu (a book written by Hayashi Razan, a scholar of
the Tokugawa period) that Kabuki actors wore pouches. From these
facts one infers that in the Bunroku period people were already wear-
ing pouches attached by links. It is quite possible that Okuni, who was
extremely popular, set the fashion by sporting a pouch at her per-
formances. In the picture referred to above, only the two actors, and
none of the spectators, wear links. It is noteworthy that both the
sagemono and the sash were passed through the link and worn at the
hip.
Although other natural objects were sometimes used as netsuke, the
gourd was by far the most popular toggle (Fig. 37). Even in later days
when more sophisticated netsuke found favor, the custom continued
of wearing a gourd in addition to the second netsuke attached to the
purse or the inro. The reason for its enduring popularity may be that
the gourd can be used in its natural state; besides, it has a lovely and
infinitely varied form. Natural gourds and sea shells often made the
most popular netsuke.
In the Kotto Shu (Collection of Curios) published about 250 years
ago, there is an illustration of a woodblock print in which a purse is
suspended by a shell netsuke and a gourd. During Kanei (1624-1643)
and Shoho (1644-1647) and in fact until the end of Genroku (1703)
it was the style to wear the inro and pouch together attached to the

one netsuke. It does not seem that the ojime (sliding bead through
which the cord was passed) was in use at that time. In the Honcho
Seiji Dangi (Discourses on Worldly Affairs) it is stated that the pouch

represents a survival of the flint bag.

Inro were already popular in Tensho (1573-1591). At that time
they were decorated in simple black lacquer. However, by the end
of Kanei (1643) inro were artistically and beautifully decorated as
gold and silver lacquering became popular. A painted screen of the
Momoyama period owned by the Daigo Temple portrays the training
of horses. The equestrian wears an inro, but unfortunately his clothes

60 • NETSUKE
hide the place where the netsuke might otherwise be visible. A netsuke,
however, was necessary to support the inro, and since the inro was
already in use, one may safely assume that the netsuke was also. In
later days the preference for luxurious pouches and inro grew. For
example, quality leather from China and India was imported for the
working of fine pouches.
As already indicated, there are no records definitely establishing the
date of the first use of netsuke. Opinions differ, and the eras assigned

are variously the Tokugawa, the Toyotomi (1574-1602), the Ashikaga

(1335-1573), and the Kamakura. The late Mr. Kyuichi Takeuchi (B
575) stated that “netsuke were already in use in the Ashikaga era to
suspend keys at the hip. Netsuke were then generally carved ivory seals
called tobutsu (Chinese articles), and even the designs of the seals
were in the Chinese style.” While I do not know the source of Mr.
Takeuchi’s information, it does seem that the practice of attaching
a netsuke to a bunch of keys has been in existence since quite early
times.
Since the netsuke was an article of utility, people made use of such
natural materials as shells, wood, bamboo, and gourds for service as
netsuke. It is for this reason that know precisely when
we do not
netsuke were first used. During the vague periods when they originat-
ed, the Chinese used ivory, wood, and various stones to make seals
and similar which were exported to Japan. It is clearly stated
articles
in the Soken Kisho that theJapanese adapted these articles for use as
netsuke. (See Fig. 51.) For this reason the opinion is held by some
scholars that netsuke originated in China. However, it is more ac-
curate to hold that netsuke as such originated in our country.
The first netsuke, then, were natural materials such as gourds,
shells, (Fig. 42). Even after the start of an artistic
wood, and stones
treatment of netsuke, signatures do not appear on the very early ones.
The first netsuke artists are therefore unknown, as are the dates when
they carved their works. Moreover, it is determine the
not possible to
precise period when Chinese carvings adapted as netsuke were first
imported from China. It is also impossible to fix accurately the age
of a netsuke from an examination of the piece itself. The only sure
way to know its age is by studying the life of the artist who carved it.
One can sometimes guess at the age of netsuke by studying old picture
scrolls, old picture books, and old paintings.

ORIGIN AND DEVELOPMENT • 61

 In Kanei, Koetsu Honami (a lacquer artist) and Nonoguchi Ryu-
ho (B 779) were already producing artistic netsuke, and I believe that
a quite large number of artistic netsuke had been made before that
time. In Kambun (1661-1672) and Tenna (1681-1683) the number
of persons who wore inro and purses increased, and the result was a
greater demand for netsuke.
In those days not only students of the Chinese classics but also
educated and literary people revered China as the fountainhead of
culture and wisdom. Chinese objets d* art were much in vogue. Various
objects from China such as ito-in (copper or bronze seals affixed to
shipping cases), seals, sword handles, cane heads, and ornaments for
cap and obi were quickly made into netsuke by the insertion of holes
and a cord. Pursuing the vogue, the Japanese made a great number of
netsuke for which Chinese subjects were adopted (Figs. 52, 53, 55, 56,
etc.). This imitation of Chinese subject matter explains the enormous

output of shishi (temple dog) netsuke, since the shishi was a frequent
subject on the seals imported from China (Fig. 51). In the SokenKisho
many of the netsuke illustrated reveal carving that is Chinese in sub-
ject matter and feeling (Fig. 221).
From Genroku through Shotoku (1688-1715) the demand for
netsuke increased still further. Both maker and wearer gave more
attention to the quality of the carving and were no longer satisfied
with natural form or childish design. This growing popularity required
the production of netsuke in large quantities. Industrial artists, in-
cluding painters, carvers of Buddhist images, lacquerers, mask carv-
ers,metalworkers, architectural carvers, and metal casters produced
netsuke as an avocation or amusement. Some of these artists gradually
devoted themselves exclusively to netsuke as their life work. In this
way netsuke of superb artistry made their appearance.
From Kyoho until after Horeki (1716-1763) the wearing of tobacco
pouches was the style. Businessmen particularly, almost without ex-
ception, wore them. The tobacco pouch was as much the mark of the
successful businessman as his stock in trade. Thus the demand for
netsuke increased apace, and great numbers of them were made to
meet the demand. Businessmen spared no expense in acquiring fine
tobacco pouches as vanities, and they took as much pride in sporting
them as samurai did in their swords. This trend was not limited to
men of commerce but extended to the rich, the artists, the workmen,

62 • NETSUKE
and the playboys. A large production of fine tobacco pouches, and of
finenetsuke to go with them, was required. In Bunka and Bunsei
(1804-1829) the netsuke reached the summit of its popularity. This
was the golden age of the tobacco pouch and of the netsuke.

ORIGIN AND DEVELOPMENT •

63
 4: Netsuke
with
Secondary Functions
Netsuke were used for the purpose of suspending inro,
tobacco pouches, keys, purses, amulet cases, leather wallets, money
bags, chopstick kits, sake cups (Fig. 57), and other objects. Of these,
the inro was the particular mark of the samurai. It was his custom
to place medicines in it and to carry it with him on all ceremonial
occasions. Inro were already in use during the Temmon period
(1532-1554) and increased in popularity thereafter until the Meiji
period (1868-1911), when they declined as knighthood’s adornment.
Even today, however, an inro is occasionally seen in use.
The inro required an accompanying netsuke, and great care was
taken to produce netsuke suitable for this use. Inro netsuke were
generally smaller and lighter in weight than others in order to reduce
the danger of damage to the inro. Occasionally, the tusk of the
narwhal (sometimes known as the sea unicorn) or the horn of the
rhinoceros is used for making netsuke. Both these animal products
were known as ikkaku meaning single-horn. The narwhal is a kind
,

of whale found in arctic waters. The tusk is similar to, but distin-
guishable from, elephant ivory.
In the Wakan Sansai Zue >
an illustrated encyclopedia published
in the early 18th century, ikkaku is described as follows: “In common
usage ikkaku includes the horn of a kind of rhinoceros as well as
the tusk of the narwhal. Dutch merchant ships occasionally bring
narwhal to Japan, but it is usually very difficult to obtain. Narwhal
tusk is about six or seven feet in length and about three to five inches
in circumference. It resembles elephant ivory but is more yellowish
in color. Its surface is sinewy and spirally grooved or fluted. The
grooves tend to diminish near the tip, which is curved. The center
core is often hollow. As the cost of narwhal is extremely high, off-
white rhinoceros horn from Cochin China is imported as a sub-

64 • NETSUKE
stitute, but is lately becoming rare. The surface of rhinoceros
this also
horn is and lacks a gloss or luster. It has a distinct grain and
fibrous
cuts like bamboo. The longer horns measure more than one foot.”
At a quick inspection it is difficult to distinguish narwhal from
ivory. Because of its great value and in order to identify the material
as narwhal in the completed netsuke, the carver usually left portions
of the characteristic grooved skin of the tusk exposed, particularly at
the cord holes and at other parts of the netsuke that did not mar the
design.
Persons attacked by fever were given medicinal concoctions to
drink, the essential ingredient of which
was chips from the cord holes
of the narwhal netsuke. Thus narwhal netsuke served a secondary
purpose as a medicament. Even today narwhal tusk and rhinoceros
horn are used as curatives for fever. Netsuke of narwhal are designed
so that a small amount of chipping around the cord holes does no
harm to the overall design.
In the Shui Tomi Roku, a collection of stories from Kyoho to Horeki,
there appears the following tale:“As a youth the young Lord Chikara,
the third son of Matsusada of Kii, often hawked and fished in the
mountains on the way to his villa beside the Urushi River in Waka-
yama. One day on his way home he passed through Shinnai Street
and stopped at a curio shop selling old sword guards, small swords,
tobacco pouches, and books hung on bamboo poles. A netsuke made
of horn aroused his interest, and Chikara ordered that it be delivered
to his villa. Since the curio shop was operated only by a widow and
her young daughter, the mother sent the girl to deliver the netsuke.
She received in payment a few farthings, the price she asked. Later
an expert informed Chikara that the netsuke was made of narwhal
tusk. The young lord felt sorry for the widow and her daughter, who
obviously did not understand their business. The next time he passed
the shop, Chikara gave them two hundred copper coins. The two
women were extremely grateful, and the widow sent her daughter
to the lord’s villa to express thanks. The daughter’s modest manner
and attractive appearance excited the young lord, and he ‘placed his
hands upon her’ in secret. Thereafter he visited the curio shop often
on his way home from hawk-hunting, and occasionally the comely
daughter visited him at his villa. One day she reluctantly disclosed
that she was with child. The matter was kept secret, since the young

WITH SECONDARY FUNCTIONS •

<55
lord was still dependent upon his father. He gave her as solatium
things of value, including ten gold coins, a sword forged by Kunimune, 1

and the narwhal netsuke that had started their liaison. Months passed
and a child was born. .”. .

The inference is clear from this account that the narwhal netsuke
was most highly valued. In addition to narwhal tusk, there are other
examples of netsuke materials reputedly possessed of great medicinal
value. Ivory shavings were used for extracting thorns and splinters,
and staghorn shavings as an antidote to viper poisoning.
The ash-tray netsuke, designed for use with the tobacco pouch, was
a popular form, particularly with farmers. It was usually of metal,
especially cast metal. As its name implies, it was intended for use as
an ash tray (Figs. 21 and 24). The cast-metal netsuke made by Kyubei
(B 574) of Sakai (a city near Osaka) are good examples of this type
(Fig. 21). Kyubei’s designs include pots, pots with lids, turtle shells,
—
and others usually decorated with geometric or arabesque motifs.
There are also ash-tray netsuke made of cloisonne.
Another type of netsuke that was popular for use with the tobacco
pouch was one designed as a lighter. It was made of brass, iron, cop-
per, or wood. The inside of the lighter-netsuke contained flint and
a tiny hammer activated by a spring release. When a small button
on the outside of the netsuke was pressed, the spring released the
hammer, which struck against the flint and produced a flame in a
small depression that contained inflammable material. The flint-
lighter netsuke was used for lighting both pipes and cigarettes. In the
Meiji period, a matchbox netsuke for holding wax matches came into
use.
The sundial netsuke was another type with a secondary use (Fig. 63).
It —
was made in two sections usually two hemispheres one of which —
contained a compass and the other a sundial marked with the animals
of the zodiac to indicate the hours. Thus the netsuke indicated both
direction and time and served a most useful purpose in former days
when mechanical watches were expensive and difficult to obtain.
Hunters used small folding knives or daggers as netsuke (Fig. 58).
Tea-ceremony masters employed tea-whisk netsuke to suspend sets
of utensils used in the preparation of the beverage, and merchants
used abacus netsuke for their calculations. Most of these last were of
wood, although ivory ones appeared at a later period. Abacus netsuke

66 • NETSUKE
of metal are rare. Other netsuke that combined their primary function
with a secondary one included candlesticks, spyglasses, yatate or writ-
ing-brush containers (Fig. 62), cases for the solid ink used with per-
sonal seals, magnifying glasses, and many others (Fig. 132). It appears
that ideas for secondary functions of netsuke were practically ex-
hausted.
As the above outline shows, many netsuke were produced that
combined their basic use with an additional function. This practical
trend, dictated in part by a desire for economy, was paralleled by a
trend toward very luxurious netsuke that were preferred by persons
of ample means. It is most interesting that the trend toward the prac-
tical, inexpensive netsuke and the trend toward the luxurious, ex-

pensive netsuke coexisted and developed concurrently.

WITH SECONDARY FUNCTIONS •

£>7
 5: Netsuke
and the
Tobacco Pouch
Before discussing the netsuke and its use with the tobacco
pouch, I should like to outline briefly the history of tobacco. Although
it has been said that the word “tobacco” came from Tobago, the

West Indian island where tobacco supposedly originated, this was

actually the name of the pipe in which the natives smoked it. The
Spanish explorers assumed it to be the name of the weed itself, and

the word thus came into universal use. Tobacco was introduced into
Europe following the discovery of the new continent by Columbus,
who had observed the natives smoking and returned to Europe with
samples of tobacco obtained from them. It was during the Ashikaga
era, in 1525, that the Spaniards brought tobacco plants to Europe.
In 1560, Jacques Nicot, a Frenchman, began importing tobacco seeds
into Europe, and the smoking habit has been prevalent among
Europeans ever since.
As for the importation of tobacco into Japan, it is assumed that the
Portuguese carried tobacco with them when they came to this country
in 1543. While there no actual record to corroborate this date,
exists
the fact remains that smoking was in vogue in our country in the
early days of Tensho. At that time, since it was an imported prod-
uct, tobacco was extremely expensive. In 1605, tobacco seeds were
introduced. Farmers sowed the seeds at Sakurababa in Nagasaki and
learned the art of cultivating and curing tobacco. After this, the cul-
tivation and smoking of tobacco spread by rapid stages. One can
gauge how rapid from the fact that in 1609 the second Tokugawa
shogun issued an edict prohibiting the planting and selling of tobacco.
Despite this prohibition, a large number of cultivators and tradesmen
continued to deal in tobacco in violation of the shogunate’s ban. By
the era of Jokyo (1684-1687) tobacco was already the stock in trade
of importers as well as shopkeepers.

68 • NETSUKE
 In our country the tobacco craze, initiated in the
Kyushu area,
spread to the Kyoto-Osaka area and a Edo (Tokyo).
little later to
In the old days smokers did not carry tobacco pouches. The social
amenities of the day required the host to furnish the tobacco to be
smoked by his guests. As is only natural, time produced a change in
this custom. Smokers began to carry their own tobacco with them.

Thus arose the necessity for the tobacco pouch. At first smokers
carried tobacco in purses or wallets, the wallet being preferred. Later,
but prior to the general adoption of the tobacco pouch, smokers often
carried paper pouches or paper bags containing tobacco which were
attached to long pipes (kiseru).

In Genroku (1688-1703) and Gembun (1736-1740) the hanging

tobacco pouch was already in general use, as may be seen in the Kotto
Shu (Collection of Curios) written by Seisai Edo in 1813 and in the
Ehon Makuzugahara (Picture Book of Makuzugahara) by Nishikawa
Sukenobu. In Anei (1772-1780) a large number of standard hanging
tobacco pouches were to be seen decorated with fine metal ornaments
with ojime and netsuke. Note the pictures drawn by the paint-
en suite
erShimokobe Jusui in the book bearing his name.
During Anei a tradesman in Osaka named Yodoya Seibei created
a particular tobacco pouch known as the Yodoya tobacco pouch.
Since then, even including the present day, there are shops specializ-
ing in tobacco pouches; for example, the shop of Kagiya Gohei. Need-
less to say, made and sold in the Tokyo area.
tobacco pouches are also
Those produced an honorable fame as souvenirs of a
at Ise enjoy
pilgrimage to the Ise Shrine. Pouches made of a special material
similar to leather popularly known as kappa enjoy a wide distribution.
The trademark for kappa, “Watch out for Fire,” is known every-
where.
So we see that as smoking grew in popularity, carrying tobacco
became the accepted custom. The samurai, however, did not adopt
the new custom but adhered one requiring the host to offer
to the old
tobacco to his guests. At the samurai home it was common etiquette
to serve the guest with a tobacco tray and two pipes. It is also recorded
in the Saji Kiroku (Records of the Tea Ceremony) that the tobacco
tray furnished to tea-ceremony devotees was prepared with two pipes.
Although the warrior class did not usually carry a tobacco pouch, in
an occasional samurai carried one in the sleeve pocket
later periods

AND THE TOBACCO POUCH •

£9
of his kimono. But the samurai never carried a tobacco pouch of the
hanging or suspended kind.
Contrary to the old custom maintained among the samurai, carry-
ing tobacco pouches was a most popular practice among the trades-
people. Businessmen considered smoking not only an aspect of good
manners but also an essential concomitant of business negotiations.
Most farmers, artisans, and merchants carried tobacco pouches hang-
ing at their hips. Usually these pouches were opened and displayed
as men smoked and talked. It was only natural for businessmen meet-
ing in daily competition to spend a good deal of money on their to-
bacco pouches as the hallmark of success, just as the samurai splurged
his wealth on his sword, the essence of the warrior spirit, even to the
point of impoverishment. In those days commercial houses did not
permit clerks and apprentices to smoke. Only those in managerial
positions, however low, were permitted to do so. What a proud day
when some young banto (executive) celebrated his promotion by
sporting a tobacco pouch!
Among and dandies
the tradesmen there were quite a few sports
who squandered sums beyond their means for luxurious to-
utterly
bacco pouches of which they were inordinately proud and vain, and
they disputed with one another over the relative superiorities of these
pouches. Usually they succeeded only in making themselves wretched
from the strain of financing their costly purchases. Their preferences
were often for cynical designs —snakes and skulls and such —of which
these dandies were extremely fond (Figs.39 and 64).
To sum up, then, among people other than the samurai, to carry
a tobacco pouch and netsuke was the fashion. The trend went to the
luxurious and expensive ensemble. People vied with one another in
securing fine tobacco pouches and netsuke.
Spurred by their desires to express their individuality, these en-
thusiasts, sparing no expense, demanded new ideas in the leather
pouch, the metal ornaments, the ojime, the netsuke, the pipe, and
even the cord. The man whose sexagenary cycle was the Year of the
Rat would utilize the rat and related subjects as decorations for the
pouch or he would for variety utilize the animal at the opposite side
;

of the zodiac. In the case of a mask motif for decoration there might
be, for example, a tengu (demon) mask (Fig. 65) for the metal part,
an Ofuku (goddess of good nature) mask for the netsuke, and another

70 • NETSUKE
 ,

mask Smokers gave expression to their own ideas about

for the ojime.
and composition, and they owned not one
subject matter, design,
but many tobacco pouches from which they selected the appropriate
one for the particular season or occasion for example, pine, bamboo,
;

and plum blossom for the New Year; the animals of the zodiacal year,
an appropriate subject for the chugen or summer lantern festival and ;

on the occasion of marriages or funerals. These ideas

fitting subjects
were applied not only to the tobacco pouch but also to the purse and
other sagemono.
There were various kinds of leather (kawa) used in the manufacture
of tobacco pouches: sprinkled-gold leather (kinkara) soft deer leather,
calfskin, Persian, Indian, Moorish, dyed, painted, tooled, and others.
The metal parts of the tobacco pouches were wrought by such noted
craftsmen as Somin (B 1107; Figs. 1 and 62), Yasuchika (B 1244),
Shuraku (B 1075), and others. Semiprecious stones and valuable
materials such as coral, amber, agate, and ancient Egyptian glass
(tombodama) were made into ojime. The pipe also was made of various
materials and in a variety of shapes to suit individual tastes. Needless
to say, netsuke used in conjunction with the tobacco pouches were
also very luxurious. Preferences in netsuke subjects varied widely and
covered the entire range of individual predilection. Farmers often
preferred ash-tray netsuke; businessmen were partial to such subjects
as Daikoku (Fig. 60), rats, frogs, and Ofuku (Figs. 91 and 196); and
others selected still other suitable subjects almost without limit.
In view of the great popularity of the smoking habit, the total
number of netsuke produced Japan must have been enormous.
in
Before the advent of the tobacco pouch, the number in existence was
small. But once the tobacco pouch came into general use, the netsuke
became indispensable. In Tokyo, Kazusaya Kihei, Omiya Gorobei,
and others were old and reputable wholesale dealers in pouches of all
kinds. An association of pouch dealers that included 128 members
was formed in 1904. The Maruchu, owned by Saito Chushichi, and
the Maruka, owned by Saito Kasuke, were rated as first-class shops.
In Osaka, Yawataya Sakubei, Mizuochi Shobei, Kawai Rihei, Ta-
naka Zembei, and others were well known wholesale dealers. It is easy
to picture the wholesale dealers gathering together netsuke produced
locally in the various provinces and buying and selling great quantities
of them. The industrial artist who carved as a hobby grew into the

AND THE TOBACCO POUCH • 71

netsuke specialist. The carvers made two classes of netsuke: one
quickly produced for the wholesaler, the other finely designed and
carefully executed for special order. Thus we see that the universal use
of tobacco and the huge production of tobacco pouches assured the
swift popularity of the netsuke.

72 • NETSUKE
 6: Netsuke
Materials
The carvers of netsuke employed an almost endless
variety of materials in creating their products. Although wood, be-
cause of its ready availability and
its historical use for carving Bud-

dhist images, was the most common medium, ivory ran it a close second
in popularity in the later periods. Horn, metal, porcelain, and lacquer
were also frequently used. Other materials included bamboo, gourds,
shells, stones, coral, tortoise shell, agate, glass, and amber.

WOOD
There are many fine woods produced in our country. In fact, they
stand unique among the woods of the world. Cypress (hinoki) is one
of the best. It has a delightful fragrance and a subdued luster. It was
prized in ancient times for the construction of shrines and temples
and for the sculpturing of Buddhist images. It was a natural choice
among materials when the carving of netsuke reached an artistic
stage. Because Shuzan Yoshimura (B 1092), the first great netsuke
artist (Figs. 143-145), generally used cypress, his followers tended to
use it also. It is a soft wood, and the constant use of cypress netsuke

leads to the effacement of the carving and sometimes to breakage, par-

ticularly of the part through which the attached cord passes. Since
details are prone to be obliterated, cypress is not ideally suited to
netsuke carving.
The most suitable material for netsuke is boxwood (tsuge). Because
of its strength, it has often been used for the manufacture of women’s
combs and for the carving of seals. It is well adapted to the netsuke’s
primary function of supporting the tobacco pouch or the inro. It is
the first choice of the netsuke carver, not because of a random pref-
erence but because of its characteristic toughness, its fine and even

MATERIALS • 73
 , , , , ,

grain, its smoothness, and its lustrous patina that improves with use
and age. Boxwood is the ideal material for minute and delicate carv-
ing. It is therefore preferred above all other woods for the carving of
netsuke.
The quality of boxwood varies to some extent with the area in
which grown. That produced at Mt. Asakuma, near Ise, is the
it is

hardest and most lustrous and is used for carving objets d’ art for the
tokonoma (okimono) and Japanese chessmen (shogi no koma) as well
as netsuke. The netsuke from the Ise and the Nagoya areas are gen-
erally made of boxwood. Ebony (kokutan) and cherry (sakura) are
next in the order of preference.
Miwa (B 710), the renowned netsuke carver of Tokyo (Figs. 3, 68,
and 71), was greatly concerned about the damage and defacement to
which cypress netsuke were prone. As a result, he became the first
prominent netsuke artist to use cherry, although he also used ebony
and boxwood. He was also the first to line the cord holes of the netsuke
with stained ivory.
Other woods frequently found in netsuke include black persimmon
(kurokaki), —
yew (ichii) tea bush (cha Fig. 61), camphor (kusunoki)
Zelkova (tsuki), camellia (tsubaki), jujube (natsume) and pine (kusabi).
Netsuke were also occasionally carved from fragrant woods such as
sandalwood (bvakudan). Even certain nuts (Figs. 43 and 45), as well
as peach and apricot stones, were used, sometimes quite cleverly.
Some wooden netsuke are colored with paint or lacquer (Figs. 60,
61, 143, 144, and 145). Most are simply carved, sometimes in a series
of angular planes —a style called ittobori or single-knife carving (Figs.
29, 40, and 126). Occasionally ivory as well as wooden netsuke are in-
laid in the Shibayama style with coral, malachite, tortoise shell, shell,
mother-of-pearl, jade, and other materials. There are still other types
of mosaic or inlaid netsuke representing the human form. In fact, the
technique of inlaying ebony for clothing and ivory for faces and hands
was practiced from very early times (Figs. 66 and 72).

IVORY AND HORN

Except for boxwood, ivory was the most popular material for netsuke.
During the three hundred odd years of the Tokugawa period, the
people were blessed with peace. Music and dancing were popular

74 • NETSUKE
pastimes for the humbler classes as well as the samurai. The samisen,
with its strings and its ivory plectrum —the sine qua non of song and
dance —was as much in vogue in the home as in the gay quarters. The
demand for ivory plectrums was heavy. Shrewd businessmen collected
the triangular-shaped pieces of waste ivory left in the places where
plectrums were manufactured and sold them to the netsuke makers.
Most of the netsuke made from such waste material conformed to
the shape of the material, with the result that they were triangular in
shape. These were sold to people of ordinary taste. The size of such
netsuke was larger than usual, and the carving did not appreciably
reduce the weight of the material. Although they were sometimes
signed, they were usually of little quality and were only occasionally
worthy of great appreciation. Nevertheless, such netsuke reveal the
subjects and designs that appealed to average people.
In contrast with this practice, the master netsuke carvers were con-
scious of their reputations and their prestige as artists, and they
shunned the use of the triangular ivory remnants from factories. They
used only the choicest of materials for their efforts. Kaigyokusai (B
430), for example, used tokata the finest quality of ivory
,
—usually found
in Siamese and Annamese tusk — for his netsuke in this medium (Figs.

32, 70, 74, and 75.) Tokata is a very delicate-textured and beautiful
ivory. Although it was exorbitantly priced, Kaigyokusai selected only
the supreme material from among the best tokata.
After elephant ivory, the tusks of the boar, the narwhal, the walrus,
and the hippopotamus were preferred. The Seiyodo school of netsuke
carvers frequently used boar tusk (Fig. 67), and Issai Ogasawara (B
352; Fig. 80) and his followers used whale tooth in many cases. In
the old days the ivory used for netsuke was imported through China
and Korea. There seem to be two types of ivory: one that changes
to an amber tint after long use and another that does not. I suppose
the difference is due to variations of habitat and environment.
The next material in order of frequency of use was horn. Of this
class, staghorn was the most popular (Figs. 20, 26, and 78.). The most

famous netsuke carver in horn was Kokusai Takeda (B 527 Figs. 20 ;

and 26). His style was unique and highly popular. Water-buffalo
horn was next to deer horn in frequency of use. Rhinoceros horn
(Fig. 17) and narwhal netsuke are found only infrequently.
The carving characteristics of wood and bamboo on the one hand
MATERIALS •
75
and of tusk and horn on the other are quite different. Wood has knots
that must be cut away, and for this purpose a comparatively thin-
bladed knife is used. Tusk and horn are shaped by shaving and con-
sequently require a thick-bladed knife. The knives required for various
types of wood and bamboo also differ.

METAL AND PORCELAIN

Metal netsuke are usually kagamibuta (Figs. 10-12) and ash-tray types
(Figs. 21 and 24). The materials used in kagamibuta were mainly
alloys of copper such as shakudo (copper and gold) and shibuichi (copper
and silver), gold, silver, and others. Many kagamibuta netsuke were
produced by noted metal artists (Fig. 10). A typical ash-tray netsuke
is the one made by Kyubei of Sakai (Fig. 21), a dealer in Chinese

metal articles of the Ming dynasty. His technique and designs were
exceptional and won him wide acclaim. Kyubei’s metal netsuke were
cast from wax, and only one of a kind was made. Metal netsuke made
by other artisans were usually cast in a mold that was used over and
over again. Such netsuke were heavy and solid, and the price was
cheap. They were recommended for reasons of economy, and the
demand was great.
In addition to the above, there were netsuke made of brass or cop-
per wire skillfully woven into various designs (Fig. 22). Occasionally
one finds metal netsuke that are embellished with allover designs,
as well as wooden netsuke
to which metal sword furnishings like fuchi-
gashira (pommels) or large menuki (hilt ornaments) have been affixed.
Porcelain netsuke were made from comparatively old times. Raku-
yaki, Kyoyaki, Hiradoyaki (Fig. 89), Ibeyaki, Kiyomizuyaki, Kutani,
Bando, Onko, and Kaseyama are some of the wares found in netsuke,
and many of these are quite artistic (Fig. 91). Porcelain, although not
so amenable to the delicate treatment possible in wood and ivory, is
nevertheless capable of great artistry (Fig. 36). Some porcelain ne-
tsuke, however, were produced on the potter’s wheel in great quantity.

LACQUER AND OTHER MATERIALS

Lacquer netsuke were also made from the old days, many of them by
famous lacquerers. Since netsuke were used in combination with

76 • NETSUKE
inro, it was natural for the inro maker to design the netsuke as well,
harmonizing the design of both or complementing the design of one
with that of the other (Figs. 119, 196, and 197). Ritsuo (B 826) made
original designs for both inro and netsuke by applying lacquer to
porcelain. Netsuke in tsuishu or red lacquer (Fig. 169), tsuikoku or
black lacquer (Fig. 197), mage or twisted wood or paper, kanshitsu or
carved dry lacquer, negoro or red and black lacquer polished to form
a blotched pattern (Fig. 172), and Kamakura-bori (wood carved in
various designs to which red or green lacquer is applied) have been
known since early times.
There are three kinds of bamboo netsuke chikkon or bamboo root
:

(Fig. 225), carved bamboo stem (Fig. 38), and woven split bamboo.
In most cases the bamboo is smoked. It is sometimes carved with a
cutting edge. Most bamboo netsuke are in good taste. Some are light
in color and done in ordinary style, while others are of darker tone
and show a refined style. The bamboo artists Shogen (B 986) of Kyoto
and Gyokkin (B 133) of Osaka also made netsuke as a hobby. The
special bamboo from Matsushima called midake was used for making
a considerable number of seals that also served as netsuke. Other un-
usual types of bamboo were also used for making netsuke.
Natural and carved gourds or shells are among the oldest of netsuke
(Fig. 37). Many were also fashioned of rattan or the cane called to
(Fig. 27). Ichiraku (B 311) was the originator of the technique of
weaving netsuke out of split bamboo, and netsuke of this type are
named for him.
Among novelty netsuke, we find such natural objects as a boar’s
jaw with the teeth, tusk, skin, removed; segments of the
and flesh
jaws of wolves,foxes, badgers, dogs, or bears; and leopard and tiger
claws. Hunters were particularly proud to preserve some natural part
of their kill for use as netsuke trophies (Fig. 31).
Stones (Figs. 34 and 42), umimatsu or black coral, also known as
sea pine (Fig. 46), bekko or tortoise shell (Fig. 33), umoregi or fossil
woods, sumi ink sticks, glass, agate, sango or coral (Fig. 117), and other
materials were used as netsuke. Some were made of kohaku or amber
(Fig. 146), or of silicified coal (tamaishi), but such items were generally
imported from abroad and have less interest as netsuke.
In netsuke depicting human beings or animals, black coral, black
persimmon wood, ebony, and water-buffalo horn were used to repre-

MATERIALS •
77
sent the eyes. Unfortunately, however, buffalo horn and tortoise shell
are likely to become worm-eaten. Master carvers like Kaigyokusai
and Soko (B 1101) used inlaid yellow pearl (kigai) for animal eyeballs
and black coral for the pupils. They used hoten (Fig. 1 70) secured from
India for rabbit and monkey eyes in ivory netsuke.

78 • NETSUKE
 .

60. Daikoku. (Boxwood. 1

7
/8
". Signed: Shuzan.
B 1093.) A painted netsuke representing Daikoku
carrying his bag of treasures. Shuzan was more
particularly known as Nagamachi, after the slum
section of Osaka, where he lived. Shuzan Naga-
machi, who always signed his work, should be dis-

tinguished from Shuzan Yoshimura, his teacher,

who never signed. It is said that Shuzan Nagamachi
showed his profound respect for his teacher by using
hard woods instead of soft and by signing his ne-

tsuke, so that there could never be any uncertainty

between his creations and those of his teacher

61. Tea Picker. (Tea wood. 2 ". Unsigned.) A

painted netsuke made from the branch of a tea bush.

represents a typical tea picker of the Uji area in

It

her working costume. Netsuke of this type are known

as Uji ningyo or Uji dolls and are sold as souvenirs
of the Uji district, which is famous for its green tea.
See Gyuka, Biography 167.
62. Yatate Netsuke. (Metal. 2 1 " long. Signed: Yokoya saku. B 1107.) A yatate
/8

(case for writing brush and inkpot) netsuke in metal decorated with an etched and
inlaid design of Shoki the Demon Queller, sword unsheathed. See text, page 66. See
Fig. 143 for another illustration of Shoki.

7 //
63. Sundial Netsuke. (Silver-bronze decorated with cloisonne. 1
/ ir> long. Un-
signed.) An unusual type of sundial netsuke. One section contains a compass, the
other a sundial. Sec text, page 66. The basic material, silver bronze, is decorated
with cloisonne in floral and butterfly designs.

80
64. Skeleton. (Ivory. 1
13
/ 1(J
". Unsigned.) The artist has cleverly handled the prob-

lem of carving a complete skeleton so that its shape and compactness serve its func-
tion as a netsuke. See text, pages 107 and 159.

81
65. Gigaku Mask: Tengu. (Wood. 2 l ".
/8

Signed Ittokusai.)
: The masks of the no longer
extant Gigaku dance-drama are the first

historic masks to survive in Japan. Among

the characters that figured prominently in
66. Diving Girl. (Ivory and red
the Gigaku were the long-nosed demons called
sandalwood. 2 '/j". Signed: Yu-
tengu, of which there are two classes: the
koku. B 1326.) A diving girl
konoha tengu, which are in human form but
(ama) drying herself after a
have extended noses like that of Pinocchio,
plunge into the sea. The body is
and the karasu (crow) tengu, which have
ivory; the skirt, red sandalwood.
bird beaks. The nelsuke pictured here por-
trays the latter type.

67. Spider and Poems. (Boar tusk. 4"

long. Signed: Iwami Kawaigawa Seiyodo
Gansui. B 384.) A natural boar tusk from which a spider has been carved in high
relief. The microscopic writing consists of representative waka (thirty-one-syllable
poems) by the thirty-six most famous poets of Japan.

82
58. Monkey Doll. (Cherry wood. 9 /16 ".1

Signed: Mivva. B 710.) A simplified sim-

T
an form suggesting a rag doll of the 69. Elephant. (Ivory inlaid with var-
ype that was popularly made in earlier ious materials. 1
s
/8 ". Signed: Shiba-
lays by the young girls of certain regions yama. B 954.) A typical Shibayama
)f Japan and was called saru ningyo or netsuke inlaid with coral, tortoise shell,
nonkey doll. pearl, metal, and other materials.
Although Shibayama is the family
name of the artist who originated or
popularized mosaic inlay, the term
Shibayama is now used generically to
indicate the technique. The signature
appears on an inlaid oblong pearl
plaque.

70. Ryuan. (Ivory. 2 1

/i
". Signed: Kaigyoku-
sai Yasunaga. Yasunaga was the artist’s adoptive
name, which he rarely used. B 430. ) This is probably
a representation of the sennin Ryuan, who com-
pounded the elixir of immortality and, after drink-
ing it, rose into the clouds. His pet rooster pecked
at the dish containing the elixir and also rose to

heaven.

83
 —

T
71. Nio and Oni. (Cherry wood. 2 7 / 8 ". Signed: Miwa. B 710.) This portrayal of
a Nio and an oni wrestling symbolizes the struggle between good and evil. Although
the oni appears to enjoy the advantage, in the classic sumo position represented
the kawazu throw— the Nio is about to gain the fall.

84
72. Kabuki Entertainer. (Wood and ivory. 5 / 16 ". Signed:
1

Ho-ichi. B241.) A man entertains by playing a Kabuki role.

His mask, inlaid in ivory, simulates the special Kabuki make-
up called kumadori. It is not a character mask, however,
since such masks are not used in the Kabuki, except in oc-

casional dramas adapted from the Noh.

T
73. Go Players. (Ivory. 1
1
/ 1G
Signed: Issai. B 352.) Two
tradesmen (chonin) intent on a game of go, a complicated
Japanese form of checkers.

85
 74. Monkeys. (Ivory. 1
3 ". Signed: Kaigyoku-
/8

sai Masatsugu. B 430.) In Japan, the monkey

(saru) is traditionally believed to have the power
of dispelling evil spirits and of assuring safe and
easy delivery in childbirth. The kami no tsukai
(messenger of the god) at several of Japan’s
famous shrines is a monkey. The netsuke pic-
tured here displays the extreme care with which
Kaigyokusai did his carving.

75. Goat and Young. (Ivory.

1
1
/4
". Signed: Kaigyokusai.
B430.) This netsuke, like the

one shown in Fig. 74, exhibits

the striking naturalism with

which Kaigyokusai portrayed
his subjects.

86
 76. Daruma. (Inlaid wood, ivory,
and other materials. 1
9
/ lfl
".

Signed: Tokoku. B 1184.) A

yawning Daruma made of inlaid
wood, ivory, glass, red lacquer,
metal, and other materials. Da-
ruma is often represented yawn-
ing, as though in mock sympathy
for the nine long years he spent in

public meditation in his efforts to

gain recognition for the Zen sect.
For the same reason Daruma is

often represented with atrophied

legs; he is the roly-poly of Japan.
For other illustrations of Daru-
ma see Fig. 40, 115, and 128.

T
77. Diving Girl. (Ivory, wood, and other materials. 2 9 / 16 " long. Signed: Gyokuso.
B 160.) A diving girl holding an abalone in her arm sleeps on a huge dried salmon
The material is ivory, wood, pearl, tortoise shell, and a type of iridescent pearl shell

that imparts a most realistic appearance to the fish eyes.

87
 :

I
r

78. Kappa. (Staghorn. 1

7
/ 16
" long. Signed
Rensai. B 818.) A staghorn netsuke repre-
senting a kappa (water imp) caught in the

^
grip of a giant clam —a predicament that
must delight every Japanese youngster who
has been frightened away from swimming
by his mother’s warning that a kappa will
get him by the leg and drown him.

79. Clustering Rats. (Ivory.

1
3 " long. Signed: Tomochika.
/4

B 1195.) The subject is a group

of seven clustering rats. Count-
ing tails, legs, and heads, there
are forty-two appendages that 4
might be subject to breakage and
entanglement, yet the design is

so cleverly contrived that the

result is a smooth, round, “per-
fect” netsuke. See text, page 159.

80. Ronin. (Whale tooth.

1 "
2 f8 long. Unsigned, but at-
tributed to Issai Ogasawara.
B 352.) The figure probably
represents a ronin (masterlcss
samurai), turned robber and
disguised as a farmer, lying
in ambush with his half-drawn
sword concealed beneath him.
The netsuke was purchased in
Wakayama, the home of Issai
Ogasawara, from a family that
had owned it for more than
three generations.

88
81. Blind Man. (Wood. 2 1
/8
". Signed: Shoko. B 1010.) The blind man stands on
a single wooden clog (geta) in order to remove a stone lodged in the other. This is

a good example of balance as mentioned in the text on page 108. Note the netsuke,
tobacco pouch, and pipe case worn by the blind man as seen in the side view.

82. Handaka Sonja. (Ivory.

1
5
/ 16
". Signed: Issai. B 352.)
Handaka Sonja, one of the six-
teen Rakan (main disciples of
Buddha), entices tjic dragon
from bowl by showing the
his

sacred jewel. Shaven heads, long

drooping eyebrows, and large
earlobes are some of the at-

tributes of the Rakan.

89
 83. Ono no Tofu. (Wood. 2". Unsigned.)
A humorous treatment of the story of Ono
no Tofu, the celebrated calligraphist, who
learned perseverance from a frog which con-
tinued jumping until it reached the branch
for which it aimed. The figure balances on
a single geta. See text, page 108. See Fig.

226 for another illustration of Ono no Tofu.

mm

84. Gigaku Mask: Otoko. (Wood 85. Noh Mask: Kaminari. (Ivory;
11 ".
treated with red lacquer. 1
/ 16 eyes inlaid in pearl and black coral.
Signed Choka copied this mask
: 1
1
/2
/
'. Signed Kyogyoku.) The nc-
after amask owned by the Tamukc- tsuke represents a Noh mask for the
yama Temple.) A Gigaku mask for character Kaminari, who is actually
the character Otoko, an old man. Raijin, the god of thunder, under a
Gigaku, an ancient form of the stage name.
dance-drama, is no longer extant in

Japan, but a number of its masks

have survived.

90 J
 T
86. Wasp and Hive. (Wood. 1
7
/ 1G
". Signed: Toyomasa. B 1254.) Although the

larvae are loose and can be rattled, they do not fall free. See text, page 108.

T
88. Kyogen Hyottoko.
Mask:
(Wood. 1 •Vs"* Signed Masakazu. :

Kakihan. B 596.) Kyogen arc the

comic interludes in a Noh perform-

(Wood. ance. The earthy Kyogen pre-

87. Non Mask: Gedo.
formal,
I Signed: Masayuki. B 644.) sents a strong contrast to the
in
The mask portrayed in this netsuke ethereal Noh. The mask portrayed
also used by the street
is probably that of Gedo, a heretic. this netsuke is

performers called manzai, a group

ol

whom appear in Fig. 101. The char-

acter represented here is Hyottoko,

a man with a twisted mouth and a

popping eye. See Fig. 5 for another

example of a Kyogen mask.

91
 89. Gama Sennin. (Porcelain. 2 1
f 19
".

Unsigned.) The netsuke is made of

Hiradoyaki, a fine porcelain ware of
Korean origin produced on the island
of Hirado near Kyushu. The subject is

a Gama Sennin, a happy “immortal”

associated with the toad (gama). Note
the toad peeping from the sennin’s
sleeve. See Fig. 178 for another illus-

tration of Gama Sennin.

90.Sennin with Sacred Jewel.

(Wood, lacquered and inlaid with
pearl, ivory, shell, and other ma-
terials. 4 5 ".
/16 Unsigned.) This ne-
tsuke is of the kind that is loosely re-
ferred to as the “Shuzan” type. Its
claim to the classification rests only^
on size, subject, and the fact that it is

colored. Compare Figs. 143, 144, and

145. The subject is one of the Chinese
“immortals” holding a sacred jewel
(tama) in his hand.

92
 B 479. See text, page 76.)
Tie
91. Otafuku. (Porcelain. 1
3
/4
"- Signed: Kenya.

subject is Otafuku, also known as Ofuku, Okame,

and Lzume. 4 he name m
“big cheeks” and is applied to ugly, ungainly
women. For other illustrations o
Figs. 120, 132, 150, and
Okame, a favorite subject of the netsuke carver, see

93
 3
92. Cock and Hf.n. (Wood. 1 Signed: Masanao. B 613.) This representation
of a coek and a hen in a eoop is a good example of a trick netsuke that separates into
two parts.

T
93. Tsuba. (Ebony. 2 Vg". Signed: Yoshu Kotetsu.) A netsuke in the design of a
tsuba or sword guard. Note the simulated fish-roe (nanako) ground. The piece is
most likely the work of a metal artist. The signature is highly enigmatic and is a
good example of some of the problems encountered in reading netsuke signatures.

The rootsand radicals of the characters are transposed, as in seals. The characters
are read “Yoshu Kotetsu,” and the meaning seems to be “old (ko) iron (tetsu) from
Yoshu (a district of China).”

94
 /
94. Horned Demon. (Wood. 1
1
/2 - Signed: Ryumin. B864.) An oni regards him-
self in a mirror as he struggles to extirpate his horns. This is the identical subject
carved by Seizui Hamano, the metal artist, and referred to in the text on pages
113-14.

15 "
95. Portuguese Gun. (Red sandalwood and metal with damascene inlay. 2 /i 6
long. Signed: Murasada.) It was the Portuguese who, around 1542, introduced the
Japanese to firearms. This netsukc is a replica of one of the weapons that caused
great excitement upon their appearance in Japan.

95
 96. Omi Hakkei. (Ivory. 1
3 " 1
/8

long. Signed: Nagamitsu. B

731.) The netsuke represents
the famous Omi Hakkei, the
eight beautiful views around
Lake Biwa, minutely carved
Mr 1
rr>.-
|
w
_
r '
A
WT'-
i!t ^ i
inside a
This is
group of clamshells.
an example of anabori
Most
fcufeh -
flh>- or “cavern carving.”
anabori netsuke are carved in
a representation of a shell.

97. Rock Basket. (Wood. 3 ".

/8 1

Signed: Kyokusai. B 565.) Carved

from a single block, the netsuke
represents a basket of rocks used for
damming rivers. The “rocks” arc 4
loose and move about within the
basket. A good example of superb
mechanical ingenuity in carving.
See text, page 108.

98. Landscape. (Red sandal-

wood. 1
ll
/ 1G
". Signed: Goto
Masayoshi.) A landscape de-
sign of clouds, mountain, and
village executed in the style of
a Chinese painting. There is

no conclusive evidence that a

metal artist did the carving ex-
cept for the signature Goto
Masayoshi, which is a com-
bination of the names of Ishi-

guro Masayoshi and Goto, who

represented two families of
great metal artists.

96
 ,

100. Tsuru Sennin. (Ivory. 1

7
/ 16
".

Signed: Mitsuhiro. B 685.) The Tsuru

Sennin (or Teirei) is an “immortal”
usually portrayed riding on or accom-
panied by a crane (tsuru). In this repre-

sentation the sennin holds a Buddhist

scepter or nyoi.

'9. Oisiii Kuranosuke. (Wood;

word and crest inlaid in ivory. 2".
ligned: Soko. B 1 100.) Oishi Kura-
losuke, the leader of the Forty-
even Ronin, as a young man. Ku-
anosuke, called Yuranosuke in the
Cabuki version of the story (Chu-
hingura) is positively identified by
he crest on the back of his kimono,
"he characters of the artist’s signa-
ure, though they read “Soko,” arc
lifferent from those given for Soko
"oshiyama in Biography 1100. The
rtist may hav e exercised a common
derogative in changing the char-
ters of his name to suit his whim.
9 ". Signed:
101. Manzai. (Ivory. 1
/ 16

Meikeisai. This is an artist name of Ho-

jitsu. B 243.) The netsuke portrays a
group of itinerant entertainers (manzai)
singing, dancing, and playing on the
drum.

97
 I

102. Horse. (Ivory; eyes inlaid in amber and black

coral. 1 long. Signed:
Rantei. B 812.) The horse has long been a highly admired animal
in Japan, both as
a steed for warriors and as an object of
worship. The sacred white horse found at
many shrines is a relic of the ancient Shinto ritual of
purification and has the role
of hearing the confessions of the worshippers.
In the netsuke pictured here, the
artist has rendered his subject
in (lowing classic lines.

98
103. Noh Dance. (Wood. 1
5
/
8
". Signed Hozan :

saku. B 290.) The lion-mask dance from the Noh

play Shakkyo. Note the diapering on the kimono,
a carved substitute for the sumptuous woven
patterns of the original. Compare the same sub-
ject treated in lacquer, Fig. 1 19.

' /
104. Ikkaku Sennin. (Ivory. 3 11
/ 16 . Signed: Ran-
lei. B812.) The story of Ikkaku (the Single-horned)
Sennin relates that he lost his magical powers when
be succumbed to the temptations of a beautiful
woman. Note the sennin’s horn, which is partially
:oncealed by his head covering.

99
 Mermaid. (Wood. 2 Vs" long. Signed:
10).
Kokeisai Sansho. Kokeisai is the artist
name
of Sansho Wada. B 903.) A mermaid
holding a sacred jewel. There is a
nesekgend to the effect that one who cats Jana-
the flesh of a mermaid will enjoy
eternal

1 f-AKETTLF.. (Ebony.
The nr'i!U C
I
V2 " long. Signed: Mitsuhiro. B 685.)
1 UStr atCS the fable °f the miraculous teakettle (bumbuku chagama)

^
that U ,
mt ° 3 .

adgCT When 2 PnrS1 put

himr , T n
on the fim to boil water for tea. The

m
p et
amber and black
r :r ? insidc ° r ,hc
carved has been cleverly treated
° r ,h °
to simulate iron.
Th -
The
wh iC h
eyes are inlaid
'
coral.

100
 3 " long. Signed: Dosho. B 8J.) A
107. Moth. (Ivory; eyes inlaid in pearl. 1
/4

use with an inro. See text, page 64.

lightweight netsuke suitable for

101
 108 . Dried Salmon. (Black rnT^i 9 1 ~ ,

jada saku K 1216.) A dried salmon

(umimatsu).
cLldfromWack^al
The fish scales are realistically carved
so , ha, they

ZTT °7°
finge. is moved
Ug h
tn the
1
'° ,hC ‘° UCh dc c '’
P di '>? on whether the
direction of the tail fin
or of the head.

109. Lizard and Centi-

pede. (Wood. 2 3/
"
long. Signed : Yoshinaga.
B 1302.) A lizard and a
centipede on opposite
sides of an elephant-ear
leaf. The stem of the leaf
forms the place of attach-
ment of the cord.

1 10. Snake and Frog. (Wood.

2 V 16 "
long. Signed:
Masanao.
R 612.) In an episode
of primi-
tive savagery, a snake devours
a frog on a straw
sandal.
102
 5 "
long. Signed: Ichiraku.
HI. Bear. (Red sandalwood. /8 1

B 310.) This stylized representation of a bear elTectively illus-

trates the imaginative design, the balance,

and the rounded
crea-
shape that characterize the best of the netsuke carvers
tions. design was probably borrowed from the ancient
The
netsuke carries the art-
clay burial figures called haniwa. This
ist’s signature in a lacquer
cartouche.

Tennin. (Ivory. 5 " l° n K-

112. 1
/8

Signed: Hojitsu. B 243.) The ten-

nin, who are the angels of the Bud-

dhist paradise, arc accomplished
musicians and dancers. The one
depicted in this netsuke plays a

hand drum of the type called tsu-

zumi. The most famous of Japanese

tales about the tennin is the one

told in the Noh play Hagoromo

(The Robe of Feathers).

113. Ink-Stick Netsuke. (Ebony.

1
" long. Signed: Made by Kyu-
3/
4
sai, Naniwa, Imperial Japan.
Na-
niwa is the old name for Osaka. B
The solid ink called sumi is
576).
made from the soot produced by
burning pine wood or oil. This
is

mixed with a glue extracted from

into sticks
fish bones and pressed

arc carved with various

which
are col-
designs. Fine old ink sticks
items in the Orient. Liquid
lectors’
ink is produced by rubbing the
a small amount of water.
stick in

Compare this netsuke with the one

shown in Fig. 197.

103
1 l
AMAGATSU. ( Ivorv 9 1'" c*
h ™simulates an amagatsu
. T.

o!1 uhlrh
ThC aiu «
'he head of a
'
,n former times was placed
newborn child *

'

grant him good

l
PP
'.
,< a,lon 10 th, ‘ g°* to protect
health This
|’
him
<rhil

104
H5. Daruma. (Wood.
1

religious ligures may

freedom with which
Japanese art.
be caricatured and
mocked in

1 16. Kiyoihme amo the Bee,, oe .W

B 1 146.) The temple
temptress Kiyohime’s
called Dojo-ji is

love lor the chaste

t ie trac

pm si
i
.

•«
( ^ aftcr hc hac |

u .
mp
spurned
c bell. She.
no um h(
. . |
j

her advances, Anchm took refuge horn

^ , hc l)( .|i an d melted ii

wrapper
turning herself into a demon
serpent,
The story
her fury, while the luckless Anchm bunted m th inside.
dea^
(

in the flames of
iamous in both its o am t

forms the plot of a drama .

105
 118. Shojo. (Lacquered ivory with coral mask. 5 ".
1
/8

Signed: Koteisai.) The Noh dance of the red-faced, red-

haired drunkard called a shojo. See Fig. 162 for another
illustration of a shojo.

106
 7: Netsuke
Subjects
and Designs
The netsuke has no function by itself but is used together
with a sagemono or suspended object which it supports between the
hip and the sash. Functionally, any object that can support the sage-
mono serves as a netsuke. But the netsuke developed ornamentally
as well as functionally and in this way grew into an art form.
Since inro, pouches, and purses were worn and used in public,
preferences grew toward the beautiful and the luxurious. Consequent-
ly, carvers expended great effort to create new ideas and designs in

netsuke. In the early days most netsuke were made for pleasure and
amusement by painters, metalworkers, and other artists. Thus im-
provements in mechanical techniques were not to be expected. More
attention was given to subject and design than to mechanical in-
genuity. Subject and design were considered the essence of netsuke.
The reason is therefore clear why one sometimes finds netsuke of
superb design amounting to great art in miniature.
The design of netsuke, like that of other art forms, falls into three
artistic levels: reproduced realities, imaginary or exaggerated exten-
sions of realities, and abstractions and impressions. One finds the
designs of most netsuke on the second of these levels. It is quite rare to
find designs that reproduce reality photographically, as is often the
case in the art of the Occident.
In view of its function, certain restrictions must be observed in
designing a netsuke. It must be limited to a particular small size; it

must pass between the obi and the hip; and the shape must be
easily
smooth, rounded, and free of jutting points or sharp edges. (See Figs.
64 and 79). The form of the netsuke must be of a type that will not be
damaged by the friction that accompanies its use. Indeed, a small
amount of rubbing should impart a refinement to it. Again, the netsuke
must be sufficiently sturdy to suspend and support the sagemono by

SUBJECTS AND DESIGNS • 107

the cord that passes through it. The holes for the cord must not mar
or detract from the design, and they must be made on that side of the
netsuke that fits snugly against the body. For example, if the netsuke
portrays a standing figure, the holes are usually made at the back of
the figure so that the face side will be visible when the netsuke is worn.
Thus, unlike other art forms that are free from the limitations imposed
by use and are only to be looked at, the netsuke must conform to
certain restrictions imposed by its function.
Particular designs sometimes impose special limitations. Balance is

often carefully considered in producing a netsuke. Examples of proper

balance are the figures that stand on one leg (Figs. 81 and 83). There

are many designs that have required mechanical triumphs for their
accomplishment; for example, figures with loose tongues or movable
heads, as well as seeds in lotus pods, bees in hives (Fig. 86), and mush-
—
rooms in baskets all of which, though loose, do not fall free from the
netsuke.
It has already been noted that design is the essence of netsuke.
Painters and other artists created designs which they carved into ne-
tsuke or at least created designs that were suitable for use by the carv-
ers. Very once a good design had been created, the netsuke
often,
carver repeated it again and again, and even his students and followers
copied the identical design.
At the end of the Tokugawa period, reference books containing
netsuke designs were published to keep carvers abreast of the work of
painters and other artists who created original designs for this purpose.
These publications included illustrations for other crafts as well as
for that of making netsuke. The Banshoku £uko (Illustrations of Multi-
tudinous Occupations) is based on the original drawings of Hokusai
Katsushika published by Gungyokudo Roko in six volumes between
1835 and 1850. At the conclusion of the text appears a clear statement
that the volume is intended as a reference for netsuke carvers and other
artisans. The two-volume Bambutsu £ukai Isai Gashiki (Isai’s Designs
for Everything) was published for the same purpose in the autumn of
1864. The Bijutsu Chokoku Gafu (Art of Sculpture Illustrated) by Take-
da Denuemon was published in 1892. In the introduction by Okamoto
Kasai it is stated that sculpturing from paintings and drawings is a
characteristic of the art of our country which, from sentiment and
patriotism, we should seek to develop and improve. All these books

108 • NETSUKE
contain designs suitable for netsuke and are intended to be used as
referencesby the netsuke carvers.
The subjects of netsuke cover the entire range of shapes and forms,
including, as they do, representations of things of the imagination as
well as of actuality. Thus netsuke portray deities, sennin (wizard her-
mits), human beings, birds, animals, insects, fish, fruits, moun-
tains, rivers, landscapes, and innumerable other subjects, including
even family crests. Among the human figures depicted are Shoki,
Daruma, Kanzan and Jittoku, meditating priests, blind masseurs,
Ashinaga and Tenaga (Longlegs and Longarms), ratcatchers, Tartars,
puppeteers, Ofuku, devils, and endless others. In the non-human class
there are badgers, wolves, lions, butterflies, bees, cicadas, turtles, shell-
fish, frogs, animals of the zodiac, catfish, gulls, sparrows, hawks, and
other living things too numerous to name. As for masks, those of
Ofuku are the most popular, but there are many others from the Bu-
gaku, the Noh, and the Kyogen, including Hannya, Okina, and the fox
(Figs. 85, 87, 88, etc.). The people we call asobinin (drifters and gam-
blers) particularly liked snake and skull netsuke because of a prevail-
ing superstition that they brought luck to gamblers. The animals of
the zodiac were also popular, and purchasers ordered netsuke depict-
ing the animals in whose years they were born. Masanao of Ise (B
612) efficiently prepared a catalog of his carvings of animals so that
his customers could order from it.

An artist who on the subject and design of

exercised great influence
netsuke was Shuzan Yoshimura of Osaka. He was primarily a painter,
a pupil of Tanyu Kano. He was honored for his painting with the
artist rank of hogan. Netsuke carving was only his hobby. His designs

were chiefly of sennin and other subjects taken from the Sankaikyo
(a Chinese publication in eighteen volumes containing illustrations
of sennin, ghosts, and legendary animals) and other books. The wood
he used was cypress, which he tastefully colored with enhancing effect.
Shuzan is considered a great master of netsuke carving, and his work
is frequently copied. His influence on the netsuke carvers who followed
him was great. His netsuke were never signed, and they are now very
scarce. It is most difficult to judge the genuineness of netsuke purport-
ing to be Shuzan’s (Figs. 143-145). The Imperial Museum in Tokyo
has a group of netsuke attributed to him.
In addition to the netsuke mentioned above, rats by Ikkan (B 321),

SUBJECTS AND DESIGNS • 109

 cows by Tomotada (B 1216), monkeys by
Kaigyokusai (Figs. 74 and
nkeyS a d ftleS by Tomokazu B
1206), Ofuku by Shugetsu
^RiA^?
(B u ^
1042), quails by Okatomo (B 784; Fig.
.
(

206), animals of the zodiac

by Masanao of Ise (Fig. 92), tigers by
Kokei (B 524), loquats by Mi-
r ( 1C d by Tomiharu (B H91), Noh dolls by
R^, 777 F g Lf
it t f
“ 9 ^’ skuIls by G ok uzan Asahi
'
Toen
/’ y (B 164), masks by the
n
Deme
,‘

T •
^
family (Fig. 41), and anabori
Uarly ^amous
Insai (B 345) devoted his entire
(interior carvings) by Hoshin (B
* s sa * ^
life to the repeated
of a single subject, a monkey trainer,
^
a netsuke carver named

in two designs.
unsigned carving
I shall speak in
more detail about the netsuke carvers in
a later chapter.
As examples of innovations based on
simple designs, we find a
Uaruma with revolving eyes or a representation
of the priest Anchin
and the scorned Kiyohime of the
Dojo-ji tragedy in which, through
a tiny aperture simulating damage
to the bronze bell, one may
see
the face of Anchin in successive
colors of red, white, and blue as
the
ng S tu rned'
These tw ° novelties are credited to
tR Jn r i
-

gal "’ tbere are wlcker baskets

Minko
... with loose stones inside that
rattle with a lovely sound
(Fig. 97) and various other
elaborations.
The carpenters inkpot and the Portuguese
gun (Fig. 95) are netsuke
whose merit is found in the unusual
subject matter itself rather than
in the carving.
The “combined use” netsuke mentioned
in Chapter 4 is deserving
of attention in considering
design and subject. This type of netsuke
has a secondary function
in addition to its basic use
as a netsuke.
Examples are the abacus, the tinderbox,
the sundial, and the yatate.
a « amibuta an d manju
.
netsuke were generally made subsequent
to the Ansei period
(1854-1859). These were usually shaped
ore final carving.
by lathe
My
impression is that most of the netsuke
in
0 were destroyed in the great
earthquake of Ansei. The production
of these types of netsuke
could be rushed, and therefore
and manju were produced in kagamibuta
large quantities.
1 he three hundred
years of the Tokugawa era constituted
a period
of tranquillity ,n which art
flourished. With regard to painting,
for
xample, the Kano of Tokyo
were proteges of the shogun, the^osa
Y the 1™*™' H ° USehold in -d there were
TanVarkT
many artists who
h ffound patronage among the daimyo.
Artists thus
p nsored were bound to conform to the artistic
style and tradition

110 •
NETSUKE
of their families.The styles of painting were not the natural styles of
individual members but were patterns
developed by the family. We

are therefore seldom able to find

anything new or unusual in the paint-

ings of the sponsored artists.

On the contrary, netsuke were popular
among the common people,
Exclusive employment or
although not with the samurai and royalty.
sponsorship of the netsuke carver was almost
unheard of, despite the fact
employment was a product ol the peacclul
that the system of exclusive
era. By exception, Hojitsu (B 243 Figs. 101 12, 1

life of the Tokugawa

; ,

have been in the employ of the

and 182) may almost be considered to
period. His, however, was
shogun in the later years of the Tokugawa
netsuke carvers were free and in-
a most unusual case. Most of the -
able to choose any su
dependent, unfettered by any traditions, and
ject worth representing and
any technique worth applying to a new
The netsuke warrants our special interest as an
expression
art form.
of the essential character of the
Tokugawa era.
carvers is of course the most
meritorious.
The work of the master
public demand, netsuke making
Nevertheless, because of the enormous
trade, and as a result many
netsuke of inferior
became a wholesale
subjects were mass-produced.
quality were carved, and repetitious
daily bread rather than for t e
Many netsuke makers worked for their
It of course understandable that
spiritual satisfaction of the artist.
is
woulc
in the days of the peak
popularity of the netsuke, wholesalers
great demand.
deal in inferior pieces to satisfy the
that had “hidden pleasures or
The large number of erotic netsuke
considered. Like the ukiyo-e woodblock
their subject must also be
the
prints, the netsuke developed through popular appeal during
netsuke of this kind on
Edo period. I have seen an Otafuku (Ofuku) daunyo
at the request of a
which was inscribed: “Minko made this that
case, and it is doubtlul
for his amusement.” This is an unusual
seen a netsuke by oj
Minko was actually the carver. I have also very
in the shape of a papier-mache
dog that opened to reveal a
simulate
ivory netsuke carved to
erotic design. I also once saw an
design on die reverse. It
menuki in the form of Ofuku with a lewd
Kaigyokusai. I believe a P
bore the fraudulent signature of netsuk
was discouraged because
plication of erotic themes to netsuke
the eyes of women and
child .

were worn publicly and openly before

erotic subjects were more
At a later date, when netsuke were exported,
SUBJECTS AND DESIGNS 111
frequently carved. Even so, the subject was usually concealed within
the netsuke, and only rarely was an exposed “hidden pleasure” design
of complete figures carved.

112 • NETSUKE
 8: The
Netsuke
Artists

To summarize, the use of netsuke grew out of practical

necessity. At gourds, shells, and other natural objects were utilized
first

by the simple expedient of attaching a cord. By gradual stages netsuke

developed ornamentally as well as functionally. More attention was
given to subject and design, and the netsuke grew into an art form.
It was first used with the purse, pouch, and other sagemono. Its artistic

level improved when it came to be used with the inro.

In the early days the carving of netsuke was for the most part an
amusement or hobby of the makers of Buddhist images, painters, and
metalworkers. From Genroku through Shotoku netsuke became very
popular. As the general taste for artistic netsuke grew, considerations
of design and subject became more important, and numerous original
and elaborate designs were created. Starting with Horeki, the vogue
for tobacco pouches resulted in an enormous demand for netsuke,
which brought about the birth of the specialized netsuke carver.
Nevertheless, the fine artist who carved netsuke for his own pleasure
or as a hobby continued as before, unaffected by the specialists who
devoted themselves exclusively to the production of netsuke. This
accounts for the great variation in quality among netsuke. It is the
variation between art and craft.
We have already discussed Shuzan Yoshimura, who occupies the
forefront in the field of netsuke. Hogan (artist title) Shugetsu (Fig.
4) is another artist who carved netsuke as a diversion. Shugetsu
first lived in Osaka and then moved to Tokyo. Most of his carvings

are masks of Ofuku. His descendants continued carving through four

notable generations.
There were quite a few metalworkers who carved netsuke as a
hobby. Seizui Hamano (B 938) is an instance. One of his superior
creations is an oni (demon) regarding himself in a mirror as he tries

artists •
113
to extirpate his horns (Fig. 94). The material is the wood of the moun-
tain cherry tree. Another instance is Tou Tsuchiya (B 1244), whose
artist name is Yasuchika Tsuchiya. He is known in metal art as one

of the “three greats” of Nara. Yasuchika tried his hand at carving

netsuke for pleasure, using bamboo and other woods. His creations
are of an invariable excellence and are usually signed: “Made by
Tou for fun.” Mitsuoki Otsuki (B 701) was a noted metalworker of
the Kyowa era (1801-1803). He used boxwood to carve a netsuke
depicting a frog perched on a skull. The depth of the eye socket of the
skull is marked by a barely visible pinhole — a most difficult feat. His
technical skill is so be almost unattainable by artists
remarkable as to
limited in experience to the media of wood and ivory. In addition to
netsuke, Mitsuoki made many metal discs for kagamibuta.
Tomotada (B 1217), another metalworker, carved boxwood netsuke
and inro in bold designs as a hobby. Many other metalworkers were
carvers of netsuke (Figs. 93 and 98). There is a netsuke bearing the
signature “Kaneyuki, living at Maruyama, Kofu.” (See B 445.) The
addition of the word “living” usually denotes the work of a metal
artist. Of course, many noted metalworkers executed the metal parts
of kagamibuta netsuke in bas-relief, inlay, or etching (Figs. 10-12).
There were numerous mask carvers who also made netsuke. Deme
Uman (B 77) is one of the best. He was a Noh-mask carver of Tokyo,
and his mask netsuke usually bear the signature “Tenka-ichi Deme
Uman” (Deme Uman, best in the world). Deme Joman (B 69; Fig.
41) also made mask number of other members
netsuke. There were a
of the Deme family who carved netsuke. One frequently finds mask
netsuke bearing the signature “Tenka-ichi Deme Saman” (B 75).
Although this artist wished to indicate a relationship between himself
and Uman, his work is far below the standards of Uman.
There have been quite a few dollmakers who also carved netsuke.
One of the earliest was Hinaya Ryuho, whose real name was Nono-
guchi Ryuho (B 779). He was nicknamed Hinaya (dollmaker) because
his vocation was the creation of fine dolls. Extant examples of his work
are very scarce. Ryuho was also proficient at painting and poetry.
Chikayuki Fukushima (B 33), who lived at Asakusa in Tokyo, excelled
at making Asakusa dolls but was also a carver of netsuke. There were
many others among the makers of Nara dolls (Fig. 29) and Uji dolls
(Fig. 61) who also carved netsuke.

114 • NETSUKE
 ;

Among the many ceramists who made netsuke were Ninsei (B 761
Fig. 36), Mokubei (B 712), Hozen (B 293), Dohachi Niami (B 81),
Kitei (B 494), Kenya
(B 479; Fig. 91), Zoroku (B 1339), and others.
However, a good many netsuke bearing the seals of Raku and Kiyo-
mizu earthenware were actually made by other potters. The famous
potters usually devoted themselves to making utensils for the tea
ceremony, but some of them also made fine netsuke. Among porcelain
netsuke, those of Hiradoyaki are the greatest in number (Fig. 89).
Hirado netsuke have been produced since the old days, but very few
examples bear signatures.
The numerous lacquer artists who created netsuke include Kaji-
kawa (B 432), Haritsu (B 826), Yoyusai (B 1319), Kansai (B 449;
Fig. 196), Zeshin (B 1337; Fig. 197), Hashi-ichi (B 197), and Taishin
(B 1153). Many lacquer netsuke bear no signature.
Netsuke artists took great pains and expended great energy in
originating ideas and creating new subjects. Numerous preliminary
sketches were often necessary. An instance of the netsuke carver’s
painstaking efforts occurred in the life of Tomokazu (Fig. 136), who
lived in Gifu and devoted himself almost exclusively to animal sub-
jects. One day Tomokazu left home without a word, as though going

to the neighborhood bath. To the consternation of his worried family

and friends, he was missing for several days. On his return, he ex-
plained that he wanted to carve netsuke in the form of deer and that,
for this reason, he had climbed Mt. Kinka in order to observe deer
at first hand and to study their behavior in their natural environment.
So anxious was Tomokazu to preserve his observations while they
were still fresh that he had begun carving on the spot and had neg-
lected eating for several days. His neighbors listened to the story with
open-mouthed admiration. Such was the artist spirit: so far beyond
the limitations of ordinary people.
A noted actor, the leader of a Kabuki troupe in Osaka, was from
childhoodmuch interested in carving. He was acquainted with Soko
Toshiyama (B 1100; Fig. 99) and frequently ordered special carvings
from him. About the year 1902, this actor asked Soko to carve for
him a representation of the legend of the demon of Rashomon.
Soko’s forte was carving historical subjects, and he investigated ex-
haustively in the interests of authenticity.He was too fine an artist
to repeat some common version of the subject incorporating the de-

ARTISTS •
115
mon’s severed arm. After deep thought, Soko decided on a design
combining a helmet with a kinsatsu or prohibitory signboard. He
inquired concerning the type of helmet worn by Watanabe no Tsuna,
the hero of the legend. Although the helmet worn in the theatrical
version of the story is spade-shaped, Soko considered the probability
that Watanabe no Tsuna had not worn a spade-shaped helmet, since
helmets of this type were reserved exclusively for generals. He ques-
tioned scholars and students of historical paintings, but no one was
certain about the point. He finally consulted Matsumoto Hoko, a
recognized authority on historical painting. Matsumoto was certain
that Watanabe no Tsuna’s helmet was crescent-shaped, that it was
decorated with a silver crest centering around a halberd, and that
it had a three-sectioned neck protector. As for the prohibitory sign-

board, Soko learned that the To-ji in Kyoto owned the precise object,
which was revered almost as a national treasure. But it was not
on public display. Soko visited the temple and humbly besought
permission to view the treasure on the special grounds that he was
investigating historical facts essential to his art. The priestly guardian
listened sympathetically and finally granted Soko permission. The
signboard was crumbling with decay but still sufficed to recall its
original aspect. With absolute assurance of authenticity, Soko made
a quick copy of it. He was now ready to begin work on his carving,
and he discussed with his patron his ideas for creating an accurate
netsuke based on his research and study. The actor insisted that the
helmet be spade-shaped and that the characters on the signboard be
in gold as depicted on the stage — both in disregard of authenticity.
Soko absolutely refused to make an unauthentic netsuke. The actor
was equally adamant, and they parted in rancor.
There are many instances similar to this. Various carvers expended
unstinted, even prodigious, efforts in carving netsuke. On this ground
alone, the netsuke merits our tribute. It is a superb example of the
arts of Japan in the Tokugawa period. Nevertheless, the study of
netsuke has been neglected in our country.
Some netsuke were carved as a pastime some were signed with false
;

or misleading signatures; some were signed only with a kakihan (writ-

ten seal mark) and some were not signed at all. Thus there are many
;

master carvers whose identity is almost entirely unknown. In the

study and appreciation of netsuke, discovering the true identity of

116 • NETSUKE
these artistsis a most difficult task although at the same time a most

exciting and rewarding investigation.

Although the netsuke is only a miniature art form, the time re-
quired for its creation is a long one in comparison with that of other
objects of industrial art. In painting, the subject —whether mountain,
river, landscape, flower, or bird — is drawn upon a single surface, but
in carving a netsuke there are six surfaces to consider: front, back,
sides, top, and bottom. Furthermore, the most complicated and del-
icate designs are carved with nothing more than a cutting edge and
a cleaning brush.
A common method of staining netsuke is to mix gardenias, mangrove
bark, and water in an earthenware vessel and to boil the netsuke in
the mixture for twenty-four hours. Afterwards, it is dried and polished.
Soko Morita (B 1101; Fig. 198) and his school and followers utilize
this method.

Usually it takes one or two months to make a single fine netsuke.

Greater ability and effort than can be easily imagined is required to
express a clear emotion. That the netsuke carver’s earnings were very
meager deserves sympathy. This was especially true of the more gifted
and conscientious carvers whose time-consuming and painstaking
work often received no commensurate reward. Consequently, many
fine artists led a very poor existence. The public generally ignored the
netsuke carver and his wretched condition. After his death, however,
it frequently discovered the great merit of his work, and the artist

would then receive posthumous plaudits from the very people who
had ignored him when he was alive. Such cases were not infrequent.
Let us now consider the subject of signatures. Shuzan Yoshimura
never signed his netsuke. Many noted netsuke carvers, in accordance
with the prevailing custom, did not sign netsuke which they fashioned
at the special order of a daimyo. Nevertheless, when sold, signed netsu-
ke commanded higher prices. For this reason, artists signed those
netsuke that were made for sale as distinguished from those made at

the order of noble patrons.

When the eldest son of a netsuke artist succeeded his father, he
usually continued to use the identical name without distinguishing
himself by adding “the Second” or “the Third” to the signature. In
such cases, the particular generation can be identified only by style
and technique or by calligraphic characteristics shown in carving the

artists • 117
signature. Thus it is often most difficult to identify the artist. There
were numerous artists who used several names concurrently or who
changed names repeatedly at their whim. A majority of the netsuke
made at Ujiyamada are signed Masanao.
Honorary titles often used with signature are hogan ($£Bf|), hokyo
and tenka-ichi (AT-^). The titles of both hogan and hokyo
were first bestowed upon Jocho, a sculptor of Buddhist images. Later
these titles were conferred upon painters. The netsuke carvers who
held the title of hokyo were Ryukei (B 853), Sessai (B 955), and Hozan
(B 290; Figs. 5 and 103). Those who held the title of hogan were
Rantei (B 812; Figs. 102 and 104), Shuzan, Toki (B 1183), and
Tadayoshi (B 1149; Fig. 223). Sometimes the artist included his title

with his signature.

The title tenka-ichi, dating from the Ashikaga period, was given only
to mask and mirror makers of outstanding ability. Tenka-ichi was the
highest possible honor for an artist in this field. At first the title was
not intended to honor netsuke carvers, but in later periods the exces-
sive bestowal of it culminated in a prohibition against its use. Repre-
sentatives of the Deme family of mask makers were probably the only
carvers in the field of netsuke who properly used this title.

Another source of confusion lies in the identical signatures belonging

to quite different artists. Some netsuke bear only a kakihan or written
seal. Some man,” which is written okina
include the appellation “old
(#), so
(Jt), or (^A).
rojin Some include the character saku (ffi),
meaning “made”; to (73) meaning “knife-cut”; or sha (^), meaning
,

“copied.” Some bear the characters jjift (oju), meaning “at the re-
quest of,” or (oko), meaning “to please the taste of.” Others in-
clude the information P! A (monjin), meaning “pupil of,” or
(ni mosu), meaning “imitated,” or such other information as the date
or place where the netsuke was carved, or the age of the carver. There
are numerous other additions that are sometimes made to signatures.

118 * NETSUKE
 9: The Regional
Characteristics
of Netsuke
Netsuke exhibit regional characteristics according to the
area where the carver was trained. Within a given region, those pro-
duced in cities and local areas tend to exhibit further specialization.
A brief discussion by regions follows.

THE KANSAI AREA

This area includes Osaka, Kyoto, Wakayama, Nara, Sakai, Uji, and
other cities of west central Honshu.

OSAKA: In the art of netsuke carving, Osaka occupies a pre-

dominant position. The city produced a large number of master carvers.
An Osaka man, Inaba Tsuryu, published in 1781 the Soken Kisho, the
only book in our country dealing with the subject of netsuke. In recent
times, Kaigyokusai Masatsugu (Figs. 32, 70, 74, 75, and 146), Mitsuhiro
Ohara (Figs. 100 and 106), Gyokkin Iida, Ryukei Tanaka Mondo (B
714), Dosho Kagei (B 89; Figs. 107 and 216), Sansho Wada (B 903;
Fig. 105), Soko Toshiyama (Fig. 99), Kyusai Hirai (B 576; Figs. 54,
113, and 210), and others were bred in Osaka. Other masters carve
there at the present time.
Shuzan Yoshimura studied painting under Mitsuhiro Kano, who
was a pupil of Tanyu Kano. As a painter, Shuzan was honored with
the title of hogan. He was fond of carving netsuke in his leisure time.
Most of his subjects were taken from the Sankaikyo and the Ressendenzu
(Pictures of Numerous Sennin). He modified the designs to suit his
taste when he executed them in seasoned cypress, his preferred
material. He completed his carvingsby the application of unusual
colors of striking vividness. As his netsuke aged through use and ex-
posure, the colors mellowed and thus enhanced the pleasing effect. In

REGIONAL CHARACTERISTICS •
119
the Soken Kisho are several drawings of Shuzan netsuke made by his
son, Hogan Shukei. Shuzan discontinued netsuke carving in his middle
years. He died in 1776.
As Shuzan’s fame as the greatest of the netsuke carvers solidified,
many and colors proved to be
imitators adopted his style. His design
good models, just as cypress proved to be good material for the aspir-
ing netsuke carver. In short, Shuzan’s netsuke were used as models for
the study of the various techniques of carving. Of course, much of the
copying was not for practice but for purposes of deception. Since Shu-
zan did not sign his work, neither did his students and imitators.
The copiers may not originally have intended to deceive, but those
who appraised the netsuke as genuine pieces by Shuzan deceived
themselves and others — errors
which the copiers bear no responsi-
for
bility. Ever since the middle of the Meiji period and up to the present

time, a certain exporter has engaged an Osaka netsuke carver to live

at his home and to devote himself in secret to the manufacture of
Shuzan-style netsuke. This exporter has sold the netsuke as the genuine
work of Shuzan, earning unwarranted profits. I learned these facts
directly from one of the persons engaged in the fraud.
In summary, Shuzan, whose work has been copied and imitated by
many, initiated the basic patterns of netsuke carving in the Kansai
area and greatly influenced the entire art form.
Next we consider Kaigyokusai Masatsugu, who is pre-eminent
among netsuke artists. He was born in Osaka in 1813. He did
not follow the usual pattern of learning the art as an apprentice but
was entirely self-taught. He sketched and carved prolifically. His
work is pure and polished beyond description. Kaigyokusai had many
pupils, but a large number of them deserted and went to Tokyo about
1887. As did Okyo Maruyama in painting, Kaigyokusai developed
a highly personalized style. The power and influence of his beautiful
carving carried as far as Tokyo, and many carvers imitated his tech-
nique in Tokyo as well as in Osaka. Some observations on Kaigyo-
kusai’s work follow.
He selected his material very carefully, avoiding types that tended to
break, decay, or become worm-eaten; for example, water-buffalo
horn. When
he carved boxwood or ivory, he cut away soft, spongy,
or uncertain parts. He frequently selected for use only a small piece
from a great mass of material, since only choice material satisfied him.

120 • NETSUKE
Each of his ivory netsuke is made of the best tokata despite the scarcity
and the exorbitant cost of this material.
Kaigyokusai made numerous preliminary sketches of the object to
be carved, including the back and the underneath parts. He spared
neither time nor effort. In making rats, rabbits, and other animals,
he carved the whiskers realistically in raised lines instead of merely
indicating the hairs by etching, as less gifted carvers commonly did.
Kaigyokusai generally utilized the natural configuration of the sub-
ject in arranging for attachment of the cord, thereby avoiding the
inartistic disfigurement caused by the himotoshi (holes through which the
cord passes). Examples of this are found in his carving of various

quadrupeds in which the natural postural separation of the leg from

the balance of the body is used for passing the cord. There is no
known instance of Kaigyokusai’s using a separate material for lining
the cord holes.
Kaigyokusai used hoten for inlaying the eyes of rabbits, rats, and
other animals whose eyes are red. For the black pupils of animal eyes,
he used umimatsu in preference to horn, which is susceptible to

damage by worms. For the eyes of birds and frogs, he used a special
yellow pearl (kigai), with umimatsu for the pupils. In carving such
subjects as snails, butterflies, and cicadas, he occasionally inlaid various
materials or attached wings of contrasting material. However, he
avoided the type of mosaic known as Shibayama.
He did not color his wood or ivory. Since he used only the finest

materials, the warm, beautiful luster of the ivory or the lovely grain
of the wood was artistically sufficient. He colored only when color was
essential to his purpose; for example, in order to give boxwood the
appearance of smoked bamboo.
Since his animal carvings were thoroughly sketched and prepared
in advance and then carefully executed, his representations of animals
are natural in posture, anatomic structure, and weight distribution.
They are never slanted or otherwise distorted. Lines for the represen-
tation of hair, whether straight or curved, are clean and even in spac-
ing and in depth. A sensitive, deft, and powerful hand is clearly
indicated.
All of Kaigyokusai’s work is beautifully finished and polished. The
work of knife and brush is scrupulously completed. His signature is
strong and accurate. In etching his seal, he made the border lines

REGIONAL CHARACTERISTICS •
121
square, straight, and firm. He occasionally used ink to emphasize the
characters of the signature Masatsugu, but not of the signature Kai-
gyoku or Kaigyokusai. The characters for these last two are com-
pleted just as etched in the ivory.
These are general observations and therefore not without excep-
tions. Nevertheless, his netsuke are masterpieces and are always true
netsuke. I have heard that Kaigyokusai was a most dutiful son. On
studying his netsuke, I am sure that this must be true.
Mitsuhiro Ohara, who also lived in Osaka, did some exquisite and
beautiful work, often in a realistic style. He has left some remarkable
pieces. In his declining years he returned to his birthplace, Onomichi,
where he died.
Gyokkin Iida came from Omi. He devoted himself to making tea
utensils in the Chinese style, which were popular at that time, but
he also made netsuke. His preferred material was bamboo. Many of
Gyokkin’s pupils also made tea utensils.
Dosho Kagei 107 and 216) came to Osaka from Izumo. He
(Figs.
usually carved in ivory. He studied Shibayama mosaics and may be
considered the peerless artist in Osaka in inlaying ivory in the Shiba-
yama style. Sansho Wada studied under Dosho.

Soko Toshiyama came to Osaka from Kanazawa to study the art

of carving. His forte was the carving of historical subjects. He mastered
both simple carving (subori) and painted carving (saishoku) and made
good use of the burin in his work. He also excelled in painting and
calligraphy.
Kyusai Hirai carved in wood, bamboo, and tusk. He was skillful in
carving small objects such as tea-ceremony utensils, okimono, netsuke,
and obidome (obi clasps). He was greatly influenced by the styles of
Kaigyokusai and Gyokkin and taught many pupils.

SAKAI: Kyubei Tobutsu (Fig. 21), after long study, perfected a

bronze alloy similar in quality to that of Chinese Ming bronzes. Using
this material, he made numerous metal netsuke cast from a wax mold.

Among the shapes he designed were helmets, pots, dishes, drums, shells,
and gourds. The helmets and pots doubled as ash trays. He decorated
many netsuke with chains of circles, arabesques, and rain dragons.
These designs were executed in openwork in order to lighten the weight
of the netsuke and were made by the lost-wax process. Therefore no

122 • netsuke
two are identical. His netsuke were cast as completed designs and
were never assembled from partial castings. Kyubei did not sign his
netsuke.
Ichiraku created netsuke from rattan (to) and wisteria vines (Juji-
zuru). Rattan work grew in popularity and was later used in producing
pipe cases (tsutsu) and other such articles (Figs. 27 and 28).

WAKAYAMA: Issai Ogasawara was skilled in carving netsuke from

elephant and other tusk, but netsuke bearing his signature are rarely
found (Figs. 73, 80, and 82). Matauemon Kishu (B 650) was also a
skillful netsuke carver.

NARA The style of carving known as the Nara ningyo (Nara doll)
:

was carried on by the Okano family (B 993-1005) for thirteen genera-

tions. The material used was invariably cypress, which was shaped

— —
with a single instrument a knife and was finished by painting.
Hohaku Shoju (B 1001), representing the ninth generation of the
Okano family, improved the conventional Nara ningyo. He also carved
Noh and Kyogen actors. Hokyu Shoju (B 1002), of the tenth genera-
tion, is reputedly the finest of the line. Toen Morikawa (Figs. 29 and

40) diligently studied the carvings of Hohaku and Tsunenori (B 1003),

who was of the eleventh Okano generation. Toen mastered their
methods and evolved a new style of his own. He devoted himself to
Nara ningyo and to copying ancient carvings. People say that his work
could not be distinguished from the original ancient models. Toen may
aptly be called the foremost of the Nara ningyo makers. He was also a
professional Kyogen actor and was once honored by being called to
perform in the imperial presence. His other talents included painting,
writing poetry, and playing the sumakoto (single-stringed harp), the
samisen, and the tsuzumi (hand drum). He was also proficient in
flower arrangement and calligraphy.

KYOTO Master carvers in Kyoto prior to

: Temmei (1781-1788)
were Tomotada (B 1216; Fig. 108), Okatomo (Fig. 206), Yoshinaga
Masanao (B 609; Fig. 114), and others.
(B 1302; Figs. 109 and 224),
Later came Rantei and Hakuryu (B 181). Kyoto also produced such
noted ceramists as Hozen, Ryonyu, Kitei, Zoroku, and others, all of
whom made many artistic netsuke in porcelain.

REGIONAL CHARACTERISTICS •
123
 UJI: Gyuka (B 167), a tea-ceremony master at Uji who was adopted
by the Kamibayashi family, made a doll out of seasoned tea wood in the
form of a tea picker, as a souvenir of Uji. He painted it and presented
it to the shogun in 1842. The shogun was lavish in his praise, and as

a result Gyuka received many orders from daimyo and other officials.
His work was quite artistic and later earned the appellation of Uji
ningyo or Uji dolls. Such dolls are made in great numbers even today.
The quality of the later work, however, is quite inferior to that of
Gyuka*s (Fig. 61).

TAMBA: During Temmei and Kansei (1781-1800), Toyomasa (B

1254; Fig. 86), who lived in Shinoyama, made a variety of wooden
netsuke of excellent quality. Toyokazu (B 1253), his pupil, followed
Toyomasa’s style.

THE EDO AREA

Edo was the city to which many people migrated from local districts
allover Japan in order to engage in business. The new settlers aug-
mented the demand for inro and tobacco pouches, and this mounting
demand resulted in the production of netsuke by wholesale methods.
Netsuke carvers sprang up, their talents varying from those of master
craftsmen to those of inferior artisans.
The commercial netsuke maker lived solely by producing netsuke,
making as many of them as possible in order to increase his earnings.
He used molds to cast them more speedily and bought waste ivory
from the manufacturers of samisen. This waste ivory was usually in
pieces of triangular shape —
a fact that accounts for the huge output of
triangular-shaped designs. Such commercialism rarely resulted in good
netsuke. On the other hand, exquisite pieces were made by master
carvers as an avocation. These fine netsuke were acquired by daimyo,
wealthy tradesmen (chonin), and dandies who squandered their means
on tobacco pouches.
A great many Edo netsuke were destroyed in the huge fires that
followed the great earthquake of Ansei in 1854, and a sudden shortage
resulted. In order to meet the sharp demand, dealers were forced to
use natural materials such as ivory and horn cut in round sections
about three-eighths of an inch thick and having a simple hole or metal

124 • NETSUKE
fitting for the cord. From
the end of the Tokugawa period through the
Meiji period, netsuke became an export item, and many carvers
earned their livelihood by making netsuke for the export trade.
Prior to Temmei, the master netsuke carvers of Edo were Miwa and
Uman. Later came Tomochika I (B 1195; Figs. 79 and 137), Jugyoku
(B 408; Figs. 155 and 164), Ryukei (B 852), Tokoku (B 1184; Figs. 50
and 76),Joso (B 400; Fig. 115), Kokusai (B527; Figs. 20 and 26), Ryo
(B 830; Fig. 192), Koun (B 555), Kyuichi (B 575), Mitsuaki (B 350;
Fig. 167), and Gyokuzan (B 164; Fig. 19). Even now we have so fine
an artist as Soko Morita (B 1101; Fig. 198).
Miwa made netsuke as a hobby. His work is superb, and he is con-
sidered the originator of the Edo-style netsuke. His subject matter is

quite different from Shuzan’s. Shuzan took his subjects from Chinese
legend and history; Miwa, from the daily Japanese scene. Prior to
Miwa the chief material for netsuke was cypress, but because it
proved fragile and subject to erosion by rubbing, he decided to use
cherry wood or occasionally boxwood, Chinese woods, and others.
Another of his innovations was the use of dyed ivory or horn inserted
as a lining for the himotoshi which served as a strong channel for the
smooth passage of the cord without erosion. Miwa kept his method for
lining cord holes a secret.
Uman was an apprentice in a family of mask carvers. He made
netsuke in the form of masks as an amusement. His work has an
unassuming charm.
Hojitsu was a subject of a small fief directly under the control of the
shogun. Using ivory and boxwood with equal facility, he made ne-
tsuke that were realistic but refined. He was patronized by the shogun
and may even have been in his employ. He also enjoyed the patronage
of Marquis Tsugaru. Hojitsu had a considerable number of pupils,
and some fine carvers emerged from his studio.
The first Tomochika was born in Edo in 1800 and became a
netsuke specialist. He carved principally in ivory and selected subjects
from Hokusai’s Manga. His style emphasizes the large outline rather
than the small detail. His output was large. Both the second and the
third Tomochika also became netsuke specialists and trained many
apprentices (Figs. 79, 137, and 220).
Kokusai specialized in the carving of horn. His characteristic style
became extremely popular and gave rise to the term Kokusai-bori, or

REGIONAL CHARACTERISTICS •
125
Kokusai carving. Joso excelled at carving small objects, particularly
netsuke and ojime.
Koun, the most renowned sculptor wood during Meiji and
in
Taisho, was an honorary professor at the Tokyo Art Academy and
an artist for the Imperial Household. He trained many young students
and made other important contributions to the art of sculpture. Koun
carved a number of netsuke, particularly in his younger days.
Gyokuzan had no teacher but developed by studying draw-
his skill
ing. He is particularly famous for his many and for his
skull netsuke
fine sculpture in ivory during Meiji and Taisho. A prize was bestowed
upon him by Prince Yoshihisa in the presence of the Emperor Meiji
for his small okimono of a skull displayed at the Second Domestic
Industrial Exhibit. He headed the Tokyo Carvers’ Association and
was one of the first professors at the Tokyo Art Academy. Gyokuzan
moved to Kyoto in his later years, studied mosaics from examples at
the Shosoin (at Nara), and became quite expert at inlay techniques.
Kyuichi was also one of the first professors of the Tokyo Art
Academy. He was a faithful follower of the Nichiren sect of Buddhism,
and the bronze statues of Nichiren at Hakata and Ushijima are his
work. He began his career as a netsuke carver and devoted himself
diligently to the study of netsuke throughout his life. He deserves
recognition as one of the foremost netsuke students of our country.
Although Soko occasionally carved in ivory, most of his work is in
wood. He sometimes colored his netsuke with excellent effect. His
choice of subjects was from nature, which his style closely imitated.
He studied under Joso but was also influenced by Hojitsu and Kai-
gyokusai. He carved with great delicacy, and each single stroke of his
knife was executed with the utmost care. The Kannon of Eleven Faces
that he made some years ago is only one inch in height. It is said that
the eleven faces on the Kannon’s head cannot be seen by the naked
eye. Soko is generally conceded to be the supreme netsuke artist of the
present day.

THE CHUKYO AREA

The Chukyo area includes Nagoya at its center, Ise, Mino, Hida, and
other localities. Most of the netsuke produced in this area are made
of boxwood. The boxwood grown at Mt. Asakuma, near Ise, is re-

126 • NETSUKE
putedly the finest in our country. In Hida, however, yew is also
used for netsuke carving, although in the Chukyo area other woods
and ivory are seldom used. Netsuke produced in the area are generally
based on sketches of living subjects, particularly animals. The carvings
are carefully finished on all six sides, and many days are spent in
faithfully reproducing each subject. The results are vivid representa-
tions that include many masterpieces. I think that it was difficult for
the Chukyo artists to obtain such reference books as Hokusai’s Manga
and others from Tokyo. They therefore made netsuke from drawings
Once a good design was created, it was repeated
of the living subject.
many times.

NAGOYA: In old Nagoya, Tametaka (B 1159; Fig. 142) was the

most famous carver. Later there appeared many master hands like
Hogan Tadayoshi, Tadatoshi (B 1146; Figs. 116, 121, and 130), Ikkan,
Bokuzan (B 19), Tomotada (B 1217), Masatoshi (B 630), and Masa-
kazu (B 596; Figs. 88 and 120), each of whom left wonderful netsuke.
The Nagoya artists often employed a secret technique by which they
cleverly carved their signatures in raised characters.
Tametaka must be regarded as the pioneer among the Nagoya
netsuke artists. He employed an embossing technique to produce
arabesque kimono designs that brought him fame. He also made
okimono. He was an eccentric whose constant companion was the
sake bottle. His method of signing by means of raised characters, as
he did in is regarded as his characteristic device.
his later years,
Tadatoshi’s work based on careful observations and drawings
is

from nature. His carving is strong and true. Ikkan also relied on
drawing from nature, and most of his netsuke are quite realistic. In
his younger days, his favorite subject was the sleeping shojo (a mythical
creature renowned for its fondness for sake) and in his later years, the
rat. Tomotada was a metal artist, but he made netsuke and inro as
a pastime. His carvings in boxwood are finely detailed.
Masatoshi and Masakazu were brothers. Masatoshi visited China
and made musical instruments for the performance of Ming and
Chfing compositions. Masakazu carved in both wood and ivory.
He made many netsuke for export, particularly using the rat as a sub-
ject and repeating it numerous times because it was so well liked by
foreigners.

REGIONAL CHARACTERISTICS • 127

 ISE At in the old days, the Minko school was the
Ise,
.
more famous,
but in recent times it is the Masanao school. Almost all of
the netsuke
carvers of Ise were attached directly or indirectly
to one or the other
of these two schools. They produced many fine
netsuke.
Minko 124 and 138) began his career with the carving of
(Figs.
Buddhist made a favorable impression upon Marquis
altars. His work
Todo, the feudal lord of the Tsu clan, and it appears that
Minko
moved to Tsu
employment with this clan. He made netsuke,
to take
tonkotsu (tobacco cases), scabbards,
and decorative wooden swords. He
created various designs in boxwood and red
sandalwood and also
inlaid foreign woods, tusk, horn, and other
materials in articles of
paulownia wood. His netsuke were not based upon sketches
from
nature but upon designs and neat effects.
Masanao (Fig. 1 10) lived in Yamada and carved netsuke of popular
appeal during his lifetime. His favorite subjects were the animals of
the zodiac, and his carving is crisp and skillful. The second, third, and
succeeding generations were also known as Masanao and continued
the production of netsuke (Fig. 92).
Kokei (Figs. 122 and 123) considered Minko as
his ideal. He followed
his lead but placed some reliance on sketching from nature.
He care-
fully finished his netsuke on all six sides. Kokei lived in Kuwana.

MINO: Most of the netsuke carvers of Mino painstakingly

prepared
for carving by making preliminary sketches from real life. To
this
extent, they were largely self-taught, and it is very difficult to deter-
mine the existence of teacher-student relationships.
For example
Tomokazu (Fig. 136), Bazan (B 10; Fig. 125), and Tessai (B
1173)
appear suddenly on the scene as mature artists.
Tomokazu was born in Gifu. His carving, based on sketches
from
real life, many animal netsuke, particularly turtles and mon-
included
keys. Hiswork is quite clever. Boxwood was his favorite material.
Bazan was born in the Motosu district and later
lived at Ogaki.
His work was also based on nature drawings,
and many of his netsuke
are finely detailed.
Ittan (B 377) was a Toba clansman. He came to Nagoya and later
moved to Gifu. Most of his subjects were figures and animals skillfully
executed in wood. His favorite subject was the sleeping shojo.
The first
Masanao of Ise learned carving from Ittan.

128 • NETSUKE
 HIDA: Sukenaga (B 1124; Figs. 126, 127, and 219), lived at Taka-
yama and studied carving with Suketomo (B 1128). He regretted the
lossof power and effectiveness in the Nara ningyo caused by the ad-
dition of colors. After diligent experiment, he developed the so-called
Hida ittobori (single-knife carving), using yew wood from Hida. He
cleverly used the reddishand whitish tints of this wood, thus preserv-
ing the power of the carving. Later, ittobori carvings became one
full

of the most noted products of Takayama, and quite a few carvers of

the district devoted themselves to this technique.

OTHER DISTRICTS
A considerable number of netsuke were produced in districts other
than those mentioned above, and there are many master carvers whose
biographies are not well known. Some of these are noted below,
although the information about them is very scant.

IWAMI DISTRICT: Tomiharu (B 1191) first became a priest,

but since he loved carving, he went to Edo and studied the technique
of woodworking. Later he returned to his home district and took up
residence in the Naga area. He resigned the priesthood and reverted
to the statusof layman, devoting himself exclusively to netsuke carv-
ing. Basing his work on sketches from nature, he carved in ebony,
black persimmon, and boar tusk. His favorite subjects were frogs and
cicadas (Fig. 139). His daughter Bunshojo (B 28; Fig. 135) learned
his techniques and did excellent work. Kamman (B 440) was a student
of Tomiharu and was greatly influenced by his master’s style.

SANUKI DISTRICT: Zokoku (B 1338) was a lacquer dealer who

excelled at carving. He made various articles in tsuishu (red lacquer)
and tsuikoku (black lacquer), as well as many detailed and delicate
carvings by special order for the daimyo of the Takamatsu clan. He
was raised to the status of a samurai and was admired by the people
of his district as a great lacquer artist and sculptor.

ECHIZEN AND ECHIGO DISTRICTS: Sessai (B 955) served

Marquis Echizen and was granted the title of hokyo. He excelled at
carving and was famous for his depiction of snakes. His son Sekka

REGIONAL CHARACTERISTICS • 129

(B 949) was first a carpenter and later became a carver. His output,
though scant, was excellent in quality. Masayoshi’s (B 638) favorite
subject was the shishi with a loose ball under his paw. This loose or
free ball was carved by perforating a fixed outer ball. Masayoshi’s
carvings were quite intricate. Masamitsu (B 604) was at one time
Masayoshi’s adopted son but later returned to his natural family. He
made other carvings as well as netsuke.

OTHERS : Besides those carvers mentioned above, there were Oto-

man and 218) at Hakata, Beisai (B 11) at Itsuku-
(B 788; Figs. 190
shima, Sekiran (B 945) at Mito, Totenko (B 1243) at Kazusa, Hidari
Issan (B 203; Fig. 128) at Aizu, and Toun (B 1247) and his pupil
Hokufu (B 250) at Oshu. Each of these left fine netsuke.
Subjects of local interest are usually the messengers of the deities
of the shrine of a particular Examples are the netsuke repre-
district.

senting the deer that is Kasuga Shrine at

the holy messenger of the
Nara and the frog that fulfills a similar role at the Okitama Shrine of
Ise Futami. The Uji doll previously mentioned is also a good example
of a netsuke of local interest. The wood of the tea bushes of Uji— famous
for its green tea — is used for the carving of netsuke in the design of
women tea pickers (Fig. 61). Similarly, carvings in the yew wood of
Hida exemplify netsuke of local interest, since this wood is a famous
product of the district.

130 • NETSUKE
 1 ". Signed: Koma Bunsai. B27.) A masked
119. Lion Dancer. (Gold lacquer. 1 /2
Noh actor performs the lion dance in the play Shakkyo.
Compare Fig. 103.

131
 1

(VV ood. 2 3 / 8 ".

r
120. Okame. Signed Masakazu.
:

B 596.) According to Japanese legend, the sun

goddess once hid herself in a cave in a fit of
anger at the unruly behavior of her brother.
In the ensuing darkness that covered the world,
the gods tried in vain to lure her out. Finally
the goddess Okame performed a licentious dance
that provoked the uproarious laughter of the
assembled deities. This in turn aroused the
curiosity of the sun goddess and enticed her to

peek from the cave, whereupon one of the gods

seized her by the hand and dragged her forth.
Thus light was restored to the world, and Oka-
me came to be a symbol of mirth and good
humor. For other names and illustrations of
Okame, see Figs. 91, 132, 150, and 196.

T
121. Snaii.. (Wood. 1
l,
/
" long. Signed: Tadatoshi.
)6

B 1 146.) A realistic snail, the parts cleverly treated to

give the impression of hard shell and soil body. I he

artist's signature appears in raised characters.

132
 122. Goat. (Wood. 1
13
/ 16
" long. Signed: Kokci. B
524.) In this representation of a reclining goat, the
natural point of division of the leg from the body forms
the place for the attachment of the cord. See text, page
108.

T
23. Diving Girl. (Wood. 1.
11
/1 «" long. Signed: Kokei. B 524.) A
living girl holding an abalone while she struggles against the embrace
f a salacious octopus.

133
 -

124. Ox. (Ebony; eyes inlaid in gold and black coral. 1

5 " long.
/g
Signed: Minko. Kakihan. B 661.) The ox or cow (one word —
ushi —does for both in Japanese) figures prominently in Japanese
legendry. It was one of the twelve animals that hastened to be pres-
ent at Buddha’s side when word went out that he was dying, and
it thus assumed a place of honor in the Oriental zodiac. In the
recumbent position in which it is shown here, it is associated with
the statesman Sugawara Michizane, who rode on an ox when he
was driven into exile. It is also an emblem of the Zen sect.

T
12o.Snail and Pear. (Wood. 1 1
/2
'/
long. Signed:
Bazan, in raised characters. B 10. ) A snail on a rotted
pear. The speckled skin of the pear is realistically
represented by raised spots.

134
 126. Badger Priest. (Wood. 1
:,/ ".
4

•Signed : Sukenaga. B 1124.) A badger

disguised as a priest has difficulty in con-
coaling his tail. The netsuke is an exam-
ple of modified ittobori carving. For more
typical examples of this style of carving,
see Figs. 29 and 40.

127. Frogs. (Wood; eyes inlaid in shell and black coral.

1
9
/ lfi
" long. Signed: Sukenaga Matsuda. B 1124.) A
group of three frogs. In what might be construed as an
example of mother love, the large frog endures without
complaint the small one on her back, w'hich holds a foot
against her eye.

135
 128. Daruma. (Wood. 1
5
/8
'

Signed: Hidari Issan. B 203

A roly-polyDaruma. For othe
^
illustrations and comment o

Daruma, see Figs. 40, 76, an

115.

129. Crossing the RIVE r Sanzu. (Ivory. 1 */," long. Signed Toun.:

B 1248.) A
group of oni carry a wealthy tradesman in
grand style
across the bridge over Sanzu no
Kawa (the Japanese River Styx)
wh.ch separates this life horn the hereafter.
The proverb illustrated
“ .“Jlg° ku "° Sata mo kanc shidai >” which can be translated
as
Even the judgments of hell are influenced
by money.”

136
 B 1146.) Ranryo,
130. The Dance of Ranryo. (Wood. 2 V4 ". Signed: Tadatoshi.
(and still per-
a character in the ancient court and temple dances called Bugaku
battle was always
formed today), was a legendary Chinese prince whose victory in
assured by his wearing a mask one shown here. His dance in the Bugaku
like the
is

called Ranryo no mai. Note the diapering on the dancer s

costume.

137
 :

7
131. Fox Priest. (Wood. 3 /8
". Signed:
Komin. B 530.) The fox, traditionally be-

lieved capable of assuming a startling

number of disguises, shown here in the
is

garb of a priest. The figure and the staff

are carved from a single block of wood. See
text, page 161.

132. Doctor's Model. (Wood. 3 1 " long. Unsigned.) Okame

/2

poses as a Chinese doctor's model. In former days, the modest

Chinese lady patient list'd such a model to indicate the seat of her
pain. The netsuke has a secondary use as a fudekake or rest for a
writing brush.

138
133. Bearded Sennin. (Wood. 2 7
/8
". Signed: Genryo to. This is an
artist name of Minkoku. B667.) A bearded sennin wearing a coat of
leaves and carrying a branch in his hand.

139
 134. Divino Girl and Octopus.
(Ivory; barnacles and hlmotoshi
inlaid in shell. 2". Signed: Choku-
sai. B 55.) An erotic design of a
diving girl and a grasping octopus.

135. Cicada and Pine. l "

(Ivory. 2 /8 long. Signed: Seiyodo Bunshojo. B 28.)
( icada on pine branch with leaves and cones. The artist was one of the few women
carvers of netsuke.

140
136. Blind Man and Bakemono. (Wood. 1 1S
/ 16
". Signed: Tomokazu. B 1206.)
The fiend has an extensible neck. The blind man is unaware of his danger. The
netsuke illustrates the Japanese proverb, “Mekura hebi ni ojizu,” or “A blind man
does not fear a snake,” which can be taken as the equivalent of “Ignorance is

The bakemono represented is probably Rokuro Kubi or Whirling Neck.

bliss.”

For comments on bakemono and on the Japanese attitude toward the blind as
represented in netsuke, see the captions to Figs. 46 and 225 respectively.

141
 137. A Basket of Monsters. (Ivory, |

1
1
/4
". Signed: Tomochika. B 1195.) i

The netsuke illustrates an episode from

the famous Japanese folk tale about the
tongue-cut sparrow, “Shitakiri Suzu-
me.” The assemblage of monsters arc
those who fell upon the wicked and
greedy old woman as punishment for
her having mutilated the sparrow.

138. Boy in Dragon’s Coils. (Wood.

1
9 " long. Signed Minko. B 661.)
/ 1(J

A young boy saves himself from the^

coils of a dragon by reciting the
magical phrase, “Namu Amida Bu-
tsu” (Save me, O merciful Buddha).

139. Basking Frog. (Ebony. 2 9 " long. Signed Sekiyo :

/ 1K

Kavvaigawa Seiyodo Tomiharu chokoku. B 1191.) The

frog figures in a number of Japanese sayings and stories
and perhaps most notably in Basho’s famous haiku poem
about the frog jumping into the old pond. The proverb,
“Ido no kawazu taikai o shirazu” (A frog in a well knows
not the great sea), is often used to describe a man of
limited experience and narrow views.

142
 140. Sneezing Man. (Wood.
1
11
/ 1G
". Signed: Gyokkei. B
130.) A good example of Japa-
nese humor. A man holds a

slender ivory stick with which he

tickles his nostrils to make him-

self sneeze. The artist’s signature

appears on an inlaid ivory

plaque.

141. Sculptor. (Wood. 1 Vs •

Signed: Gyokusai. B 155.) A wood

sculptor appraises the head of a

huge Nio (Deva King) that he has

carved.

142. Ryujin. (Wood. 1

7
/8
". Signed: Ta-
A representation of
metaka. B 1159.)
Ryujin, the Dragon King of the Sea. The
dragon headdress worn by Ryujin is only
partially visible in the illustration. In
his

hand he holds the “tide-ruling jewel.”

See text, page 161.

143
 T T
143-145. Three Netsuke Attributed to Shuzan Yoshimura. (Fig. 143 boxwood;
Figs. 144-145 cypress.
: Unsigned.) The netsuke shown in Figs. 143, 144, and
145 may be attributed to Shuzan Yoshimura (B 1092). Since Shuzan never signed
his netsuke, only attribution is possible, and most attributions are at least disputable.
In the case of the netsuke in Fig. 143, which portrays Shoki the Demon Queller pre-
paring to bottle an oni, the attribution may be questioned because the material is

not cypress, which Shuzan customarily used, but boxwood. The human-headed
kirin (a fabulous animal) pictured in Fig. 144 is of cypress, but the carving lacks
power and seems to have a refinement associated with a later period than that of
Shuzan. For this reason, attribution to Shuzan is disputable. With regard to the
human-neaded kirin shown in Fig. 145, attribution to Shuzan may be questioned on
the ground that, although the netsuke is of cypress, it does not stand by itself and

thus fails to pass one of the tests of a good netsuke. This failing, however, may be
due to wear. One of the best tests to determine the genuineness of a Shuzan
netsuke is based on the age and authenticity of the paints and colors applied to it.

144
 //
146. Monkey. (Amber. 1
1
/2 . Signed: Kaigyokusai Masatsugu. B 430.) The vir-

tues of seeing, hearing, and speaking no evil combined in a single monkey. The fine

amber material is of an unusually uniform color and quality. See text, page 77.

145
 147. Karako on a Drum.
1 ,/
(Ivory. 1
/ 1< j . Signed: Gyo-
kuyosai. B 163.) The mirthful
face of this karako (Chinese
^ boy) unmistakably registers
the happiness that he sym-
bolizes. Karako are still among
the most popular toys for young
children and are often used as
okimono.

148. Genroku Samurai. (Wood. 3 "

2 /,

Signed: Gyokuso. B 160.) A young sa-

murai dandy, probably of the Genroku
period. Genroku was the brief ( 1 688—
1703) but exciting era that saw the^
evolution of the typical ukiyo-e style, the
flourishing of the fabulous gay quarters
of the Yoshiwara, and the development
of the Kabuki theater to a paramount
position in Japanese cultural life.

146
 149. Hawk and Dog. (Ivory.
9 r/
1
/i 6
. Signed: Hidechika.
B 206.) A powerful hawk has
seized a young mountain dog
in its fierce talons. Note the

care with which the textures

of feathers, talons, and hair
are suggested.

1 //
150. Setsubun. (Ivory. 2 /4 .

Signed: Hidemasa. B 212.) Setsu-

bun is the bean-throwing festival
that marks the beginning of spring
according to the lunar calendar.
The scattering of the beans is de-
signed to drive away evil spirits and
invite good fortune into the house-
hold. It is accompanied by shouts
of “Fuku wa uchi, oni wa soto,”
meaning “Happiness in, evil out.”
Here an exuberant Okame hurls
beans at an oni who tries to take
refuge under her kimono.

147
 151. Jurojin, God of Longevity. (Wood. 9 / 16 ". Signed: Homin. B 263.) Jurojin
1

is one of the Seven Gods of Fortune. The two views show the cleverness
of the
design in this netsuke. On the one side is carved the shape of a turtle, one of the at-
tributes of Jurojinand a symbol of longevity; on the reverse, Jurojin with his
elongated beard. The artist’s signature appears on an inlaid ivory
plaque.

152. Oguri Hangan and

the Stallion. (Ivory. 1 3/ ".
4
Signed: Isshu. The signa-
ture stands for Isshusai. B
372.) This striking netsuke
portrays the celebrated ex-^
ploit ol the hero Oguri Han-
gan, who tamed a vicious
stallion so thoroughly that
he could bring the animal
to stand on a board used for

the game of go.

148
 15 * Signed: Gyokuso. B 160.) This netsukc
153. Butterfly Dance. (Wood. 1 / 16

(butterfly dance), in which the dancers wear

portrays the ancient kocho no mai
wings and flutter like butterflies.

149
154. Senkyo. (Wood. 1
1 ".
/2

Signed: Joryu. B 395.) Two

c oolies carry a “passenger” be-
tween them by means of a pole
stuck through a hole in his
chest. This is an example of the
psychological function of the
into netsukc as good “medi-^
cine.” The user is amused at
the netsukc, and his sense of

well-being improved. The peo-

ple portrayed are Senkyo, a
legendary race of foreigners
who, according to Chinese
fable, had large holes in the
middle of their chests.

155. Ariomaru and the Octopus. (Wood; octopus eyes in-

and black coral. ®/ 16 " long. Signed :Jugyoku. B
laid in ivory 1

408.) Ariomaru, the servant of the exiled priest Shunkan,

overcomes and kills the octopus that has seized his master’s
leg. The story of the exile of Shunkan is the subject of a well-
known Noh play.

150
156. Falcon. (Wood;
eyes inlaid in black coral.
1 ,/
2 /
4 . Signed Harumitsu.
:

B 194.) A member of the

hawk family, probably a
falcon. The surface of the

netsuke is scarred and

stained to simulate natural
markings.

1 //
157. Buddhist Gong. (Bamboo. 2 /8

long. Unsigned.) This gong (mokugyo),

in the shape of a monster’s head, has
been carefully hollowed out so that it

gives off an authentic sound. See text,

page 162. For other types of gongs, see

Figs. 24, 48, and 210.

151
 V
158.Kidomaru. (Ivory. 1 5 /8 ". .Signed: Chiku-unsai. B42.)
Kidomaru, charmed by the beautiful music of his brother’s
flute, is diverted from his attempt at fratricide. This leg-
endary bandit was ultimately killed by Watanabe no
Tsuna. See text, page 116, and Fig. 54.

159. Nichiren. (Ivory.

5
1
/ 16
". Signed: Chomin.)
Nichiren was the celebrated
priest w'ho founded the sect

of Buddhism that bears his

name. He is represented here
sailing into exile in the midst

of a violent storm which he

quelled by prayer.

152
160. Animals of the Zodiac. (Ivory. 2 1
/8
". Signed: Kagetoshi. B421.) The twelve
animals of the Japanese zodiac are the rat, the ox, the tiger, the rabbit, the dragon,
the snake, the horse, the sheep, the monkey, the fowl, the dog, and the wild boar.
All of them appear (and the monkey twice) in this netsuke, of which two views are
shown.

9 ".
161. Oni. (Ivory. 1
/ 16

Unsigned.) This netsuke

features a clever design for
attachment of the cord,^
which the oni holds in his
powerful grip. For other
illustrations of oni, see Figs.

117, 163, and 172.

153
 162. Shojo. (Wood. i/
1
8 "J
Signed: Kazutomo.) A flowing
waterfall of sake which opens
to reveal an inebriated shojo
with an overturned sake
cup
on his head. For an
illustration
of the shojo dance as
performed
in the Noh, see Fig. 118.

'

163. Oni at Setsubun.

(Ivory. 3 ".
1
/g Signed: Ko-
hosai. B 516.) An oni cow’ers
in great distress as he is

pelted with beans at the.*

Setsubun festival on the eve
of the lunar spring. See Fig.
150 for another illustration
and comment on the Setsu-
bun festival.

164. Blind Men Grooming an

Elephant. (Wood. 1
5
/g
". long.
Signed: Jugyoku. Kakihan. B408.)
In this amusing variation on the
famous old story, the blind men,
instead of forming mistaken impres-
sions about the elephant's appear-
ance, are grooming it as if in
preparation for a festival.

154
 11
165. Tadamori and tiie Oil Thief. (Ivory. / 16
". Signed: Hidemasa. Kaki-
1

han. B 212.) Taira no Tadamori, undaunted by the reports of a fire-breathing

monster lurking in the vicinity of the Gion Temple, bravely attacks the creature,
which turns out to be a common temple servant in the act of stealing oil.

155
 166. Camellia. (Ivory. 1 «/ " long. Signed: Kyokusai.
8
B 565.) Camellias, though admittedly
very beautiful,
did not grace the samurai garden.
At full bloom the bios'
soms break off at the stem, falling
suddenly like the flash
of a sword. The abrupt demise of the flower at the peak
of its bloom reminded the samurai family
of the
fate of
decapitation that might befall
their warriors at the
height of their youth and vigor.

167. Monkey. (Ivory. 1

5
/ 16
". Signed :

Komei. The signature may also be

read as Mitsuaki. B 350.) This beau-
tifully carved monkey has neither

been smoothed nor polished, so that

the original knife cuts remain visible.

156
 7 " long. Signed: loraku. B ib».)
Bat. (Wood; eyes inlaid in black coral.
1
1
168. , B
The bat in various designs is a fa-
A bat resting with one wing partially extended.
vorite subject of Horaku.

157
 ,/
169. Toy Dog. (Lacquer. 1
1
/4

long. Unsigned.) A red-lacquer

(tsuishu) netsuke representing a
^.papier-mache toy dog. This toy
should not be confused with the
inu-hariko, which is a dog-doll
box having childbirth and erotic
associations.

170. Frog and Squash. (Horn-

bill casque. 2 1
/2
". Unsigned.) A
netsuke carved from the casque
of the hornbill (hbten) . The
bright orange-red and yellow are
characteristic. Usually honen is

found in ojime, as shown in Fig. 3 1

since it is infrequently of sufficient

bulk for netsuke. In some fine
animal netsuke the red part of this
material is used to inlay the eyes.
See text, page 78.

171. Manju. (Lacquer inlaid

Diameter: 5 ".
with shell. 1
/g

Unsigned.) A lacquer manju

decorated in Somada inlay,

which named after Somada ^

is

Hisamitsu, who developed and

gave his name to the technique
of inlaying netsuke and inro
with intricate designs in tiny
cut pieces of iridescent shell.

158
 10: The
Appreciation
of Netsuke
The netsuke has no proper function except as a unit in
an ensemble. It is not a free art form. In this respect it differs funda-
mentally from the okimono. The purpose of the okimono is only to
give pleasure as a decorative “placed object.” Regarded as a cube,
the netsuke is carved and finished on all six sides. Unlike the okimono,
it is usually examined on all of its surfaces. Because of its specific use,

it must conform to rigid limitations. For these reasons the netsuke

merits special appreciation as a miniature art form.

Since the netsuke is made
be carried at the hip, it is essential that
to
the shape be rounded, smooth, and free of sharp points, edges, and
appendages which might be broken off or which might catch or tear
kimono sleeves. As an object of wear, the netsuke must not be brittle
or fragile, but must be strong and sturdy. For example, the carver who
creates a netsuke in the form of a rat must design the tail so that it
curls in some manner about the body. If the tail protrudes, it may
catch on the wearer’s kimono, or it may be broken (Fig. 79). A carving
that is fragile or brittle fails in an essential requirement of a good
netsuke. Such a carving is more truly described as a simple ornament
or okimono. All the great netsuke artists were careful to make sturdy,
smooth carvings free of protuberances and rough edges.
Moreover, netsuke intended for use with delicate lacquer inro are
required to be light in weight and smooth in outline. Metals, ceramics,
and other hard materials are unsuitable for use as inro netsuke. Ivory
netsuke for use with inro are usually free of rough edges, relatively
small in size, and deeply carved in order to minimize weight.
Perhaps the single most important point to bear in mind in the ap-
preciation of netsuke is to consider the problems confronting the artist,
who must create an interesting design yet observe many fixed limita-
tions. The netsuke must be small, smooth, sturdy, light, rounded, and

APPRECIATION •
159
free of points, edges, or protuberances. It must not be fragile or brittle.
How much more difficult the task of the artist who creates an attrac-
tive design within the confines of these various limitations!
Another limitation on the netsuke artist’s freedom is the need for
carving two holes or some other place of attachment for the cord by
which the sagemono is suspended. The okimono needs no place of
attachment, since it rests on the flat surface upon which it is placed.
By contrast, the netsuke is attached to the sagemono by means of a
cord which passes through it. The matter of carving the holes in the
netsuke for passage of the cord is most important. In some cases special
holes for the cord are not cut, but in lieu of these some natural con-
formation of the netsuke attachment of the cord (Figs.
is utilized for
43 and 161). For example, the natural posture of an animal depicted
in a netsuke may provide a space between limb and body for attach-
ment of the cord. In many cases the two holes are about the same size.
In other cases one hole is larger than the other in order to accommodate
the knot by which the cord is tied. Occasionally the holes of a wooden
netsuke are decorated or strengthened by the addition of ivory sleeves.
In forming the cord holes it is essential that the cord pass easily and
smoothly, that the bridge between the cord holes be of sufficient
strength and durability to bear the weight of the sagemono, that the
holes do not mar the beauty of the design, and finally that the holes
be placed in such a way that the best portion or “face” of the netsuke
is exposed to view as it is worn.

obvious that daily wear and exposure will cause some appre-
It is
ciablechange in netsuke through handling and rubbing. It is note-
worthy that the master carvers considered the effect of constant use
and fashioned the netsuke in such a way that daily wear served to
smooth and refine it as it aged. How perfect was the understanding of
the master carvers of the essential nature of the netsuke
A netsuke must be shaped so that it is not awkward or bothersome
when worn. A ball shape is unsatisfactory because its constant rolling
is an annoyance (Fig. 217). The manju shape, a modification of the
ball shape, proved very stable and comfortable. For reasons of com-
fort, metal netsuke were cast in openwork to eliminate the heaviness

of solid metal.
The artisans who collected the ivory waste from the samisen fac-
tories used the ivory most grudgingly, wasting nothing. Since the raw

160 • NETSUKE
ivory waste was triangular in shape, so too were the finished netsuke.
Curiously enough, the custom of carving triangular-shaped ivory
netsuke influenced work in wood as well, so that even this inexpensive
material was frequently carved in a triangular shape (Fig. 142).
To appreciate netsuke, we must consider the status of the netsuke
carver, which differed substantially from the status of the painter, the
lacquerer, and other artists. For example, the painter was often
granted a land tenure by the shogun or daimyo who employed him,
or he held office in the Imperial Household Art Section. No such fine
opportunities were available to the netsuke artist. While he was thus
confined to relative poverty, he was, on the other hand, free of the
restraints imposed by traditions of style, by the demands and instruc-
tions of superiors and sponsors, by fear of ostracism from the school
of art to which he belonged, or by fear of the loss of his royal patron-
age. This freedom from social and financial restraints accounts for the
interesting and endless variety of netsuke —
certainly a point of ap-
preciation.
Many mechanical and technical secrets are sometimes incorporated
in the design ofa netsuke. An example is the beehive netsuke. The
numerous little larvae are loose, so that the netsuke sounds like a
rattle when shaken, yet they are not removable from the hive (Fig. 86).
Another example is the lotus-pod netsuke, in which the loose seeds
rattle but do not fall free. The mechanics of such carvings were jeal-
ously guarded and executed in secrecy. The same secretiveness applied
to the techniques for staining ivory, for carving ivory sleeves and lining
the cord holes, for inlaying contrasting materials, for imitating and
simulating various materials (Figs. 58 and 106), for embossing signa-
tures, and for carving many other “trick” netsuke (Figs. 97, 136, and
210 ).
Netsuke are required to be sturdy. They are usually carved from
a single block of material, and inlay and mosaic are generally avoided.
Lovers of netsuke do not ordinarily approve of netsuke composed of
separate parts joined together. In carving a tekkai sennin (a hermit
who leans on an iron staff) it is relatively easy to carve the staff
separately and to attach it to the figure in a simple operation. How-
ever, the staff may then be easily broken. The netsuke artist therefore
carves both staff and figure out of a solid block of wood or ivory, al-
though his labor is thereby doubled (Fig. 131). It is a different matter,

APPRECIATION • 161
however, if the effectiveness of the design is enhanced by the inlay,
or if the artist purposely works out an elaborate design in order to
demonstrate his artistry with inlay or mosaic.
In carving netsuke in the shape of Buddhist gongs (mokugyo) the
inside is hollowed out with as much care as the exterior is designed,
so that when the gong is struck, the sound is authentic (Fig. 157). This
is an example of the conscientious attention to detail that is so char-
acteristic of the art of the netsuke carver.
So neglected has been the study of netsuke in Japan that numerous
fine netsuke are unknown to the public. They are dispersed here and
there, unseen, undescribed, and unpublicized.
Signatures and seals on paintings and tea-ceremony articles, or on
the original boxes containing these, are considered of prime impor-
tance. Netsuke, on the other hand, do not suffer from the absence of
a seal or signature. An exception exists in the case of those netsuke
carved by artists known
have customarily inscribed their signature
to
or seal. Since netsuke were made for daily wear, it was rare for them
to be provided with boxes. Still, boxes were sometimes supplied for
netsuke to be used by tea-ceremony masters and devotees.
Many remarkable netsuke are not signed. For this reason, forged
signatures on netsuke prior to Meiji are rare —
unlike the situation
prevailing in the case of paintings, calligraphy, and tea-ceremony
articles. Nevertheless, many forgeries of the names of the famous old
netsuke carvers are found, especially of those listed in the Soken Kisho
and of those who, like the Deme family, are widely known to the gen-
eral public. Despite these exceptions, forged signatures occur much
less frequently than in the case of paintings, calligraphy, and tea
utensils.

Following the Meiji period it became common practice for the carv-
er to furnish a signed box with his netsuke, just as in the case of
paintings, and the value of a netsuke was lessened by the absence of
the original box. The development of an export trade in netsuke led
to the widespread forging of famous signatures, and great quantities
of netsuke bearing spurious signatures were shipped abroad.
In determining the age of an art object, the various indications of
use and wear are considered important guides. It is quite difficult,
however, to determine the age of a netsuke by signs of use and wear
alone. Often fine netsuke were not used at all, although made long

162 • netsuke
ago and although made to be worn. Many an old netsuke has never
been worn. On the other hand, many a comparatively recent netsuke
has been given such hard use that the guides of use and wear lead
to completely contrary conclusions. It is therefore quite difficult to
judge the true age of an unsigned netsuke. This also is an important
point to keep in mind when appraising netsuke.

APPRECIATION • 163
 11: The
Decline of
the Netsuke
The netsuke reached the zenith of its popularity during
Bunka and Bunsei, the periods which spanned the years from 1804 to
1829. At the end of the Tokugawa period in 1867, this popularity
began to decline. I believe that the main reasons for the decline may
be outlined as follows.
In the past, identical leather or brocade was used to make both the
tobacco pouch and the pipe case, and they were suspended together
at the hip by means of the netsuke. Later the style changed, and the
pipe case came to be made of wood, horn, ivory, or other tough
material, and it was attached to the tobacco pouch in place of the
netsuke. Beautiful pipe cases of ivory, horn, bamboo, wood, rattan,
and twisted paper (Nagato cases) were carved or lacquered and tended
to supplant the netsuke. As the use of fine decorated pipe cases in-
creased, the need for netsuke decreased.
The “black ships” of a foreign country (Commodore Perry and his
men-of-war), coming to our land in 1853, had an unsettling effect.
Our people became uncertain and troubled over the restoration of
imperial rule. Luxuries lost their popular appeal, and netsuke, being
a kind of luxury, gradually disappeared from the social scene. The
former appreciation of art objects gave way to a concern with articles
of commerce and financial gain. Art appreciation sank so low that
fine lacquer scrollsand other art objects were mutilated, if not ruined,
in order to strip from them their precious metal decorations. This
disastrous trend was precipitated in 1876 by an edict abolishing the
wearing of swords, the very lifeblood of the samurai tradition. Art
objects lost their appeal. Furthermore, the number of people who
could afford costly tobacco pouches diminished. The use of netsuke
almost came to an end during the last days of the Tokugawa govern-
ment and the early days of the Meiji Restoration.

164 • NETSUKE
 Prior to the Meiji era, the inro was invariablyworn with ceremonial
dress (kamishimo) at all formal ceremonies and important occasions.
After the Meiji Restoration in 1868, either Western-style clothes or
coat (haori) and pleated skirt (hakama) replaced the kamishimo. The
inrowas out of place without the kamishimo and thus fell into disuse.
Naturally the inro’s inseparable companion, the netsuke, also fell into
disuse.
With the Meiji Restoration and the beginning of trade relations
and commerce with foreign countries, the smoking of cigarettes in-
stead of pipes found favor. As a consequence the tobacco pouch was
discarded. The new practice adversely affected the popularity of
netsuke. When Western-style clothing was adopted by the middle
and upper classes, more people who had formerly purchased fine
tobacco pouches and netsuke began to smoke cigarettes. The decrease
in the use of tobacco pouches was marked by a parallel decline in
netsuke.
As previously mentioned, the use of netsuke is steadily declining.
Formerly an article of utility, netsuke are now treasured only by
collectors and connoisseurs. They are greatly appreciated by foreign-
ers, who are completely removed from any connection with their
practical use.

decline •
165
 12: The
Export
of Netsuke
In 1853, when Commodore Perry of the United States
led his black ships to Uraga, Mikawaya Kozaburo was the head
porter of the shogunate government. He provided for the needs of the
foreigners in various small matters. At that time even persons such as
carpenters, plasterers, and porters were caught up in the craze for
tobacco pouches. Mikawaya Kozaburo was no exception. He wore
a costly tobacco pouch to which he attached a fine mask-group ne-
tsuke. One of the Americans accompanying Commodore Perry was
fascinated by Kozaburo’s mask-group netsuke and earnestly beseeched
Kozaburo to give it to him. At that time the Japanese, never having
seen foreigners before, were afraid of them. Kozaburo mistook the
American’s pleading for a roaring rage. He feared that the American
might kill him if he refused. He reluctantly handed over his treasured
netsuke to the American.
The American was elated and in return gave Kozaburo many
presents of unusual things from the United States. Kozaburo related
the incident to his fellow workers, and the story came to the notice of
some officials of the shogunate government, who were incensed. They
charged that Kozaburo had flouted the shogunate government by
trading with a foreigner without permission. The government was
negotiating with Perry for the opening of ports and the commencement
of trade, but a formal agreement had not yet been signed. Having
incurred the displeasure of the authorities, Kozaburo was thrown into
prison. The authorities rejected his explanation that he had been
coerced into the exchange, that he had not meant to trade with the
American, and that he had not intended any offense to the shogun.
The American was sorry for Kozaburo’s plight. He explained the
situation to the officials and finally secured Kozaburo’s release. Later
Kanagawa was designated as a foreign trade port.

166 • NETSUKE
 One day Kozaburo happened to meet the American. He thanked
his friend for securing his release from prison and invited him to his
home. The American remarked that all his shipmates found the netsu-
ke unusually interesting. He asked if it were possible to accumulate a
large number of netsuke. Kozaburo answered that he could do so,
provided he had sufficient funds at his disposal. This conversation was
the birth of the trade in netsuke. Kozaburo purchased netsuke at
various localities with funds furnished by his American associate. He
packed them in an orange crate and sent them to Kanagawa. In this
way the first netsuke were exported to foreign countries.
Kozaburo later established a trading company named Sanko Shokai
at Kanda, Tokyo, specializing in overseas shipments of various art
objects including netsuke. After some hardships he also opened an
art shop at Yushima specializing in pouches of all kinds.
Kozaburo was very small of stature, and he stuttered. At first sight
he appeared to be a rustic, but he always wore his hair in a large
topknot in true samurai style and, like a samurai, fought against in-
justice,always endeavoring to rectify wrongdoing and dishonesty. He
possessed the fine character of a samurai and gentleman and was an
accomplished swordsman. At the time of the upheaval that led to
the Meiji Restoration, he sided with the shogunate. While engaged
in trade he found deep pleasure in providing the objects desired by
He died in 1889 at the age of sixty-seven. I understand that
others.
Koun Takamura, the great wood sculptor, carved a large number of
okimono Kozaburo.
for export at the request of
Netsuke were among the first articles to be exported, and they con-
tinued to be the subject of commercial transactions in increasing quan-
tities. Their value at that time was greatly depressed. At the time of

the Meiji Restoration the whole nation seethed in a turmoil of un-

certainty over the restoration of imperial rule, the abolition of clans,
the establishment of prefectures, and the inception of foreign trade.
People were not in the mood and showed little interest
for art in art
objects. Even swords, formerly considered the purest of art objects
and the very soul of the samurai, were ignored. Artists fell upon
wretched days, eking out a bare existence. However, since large
numbers of netsuke were required for the overseas trade, wood carvers
and metalworkers fared better than other artisans, and numerous
netsuke, particularly in ivory, were made for export to foreign lands.

export •
167
 Export netsuke were made for the most part in the large cities such
as Tokyo and Osaka. Chuichi (B 62), a resident of Osaka, was profi-
cient in making turtle netsuke and produced them for the export
trade. Masatoshi of Nagoya and his pupil Seikei (B 915) specialized
in the subject of the ratcatcher for export. In Osaka some fairly promi-
nent carvers turned out netsuke in the style of Shuzan Yoshimura
which were sold as genuine by dealers to foreigners at exorbitant prof-
its. I learned these facts from a couple of the participants in the fraud.

Most of the netsuke made from the end of the shogunate (1867)
through the first half of Meiji were exported to foreign countries, very
few being retained for domestic use. It is a strange phenomenon that
our netsuke carvers at that time were better known abroad than in
Japan. Even in recent days one occasionally hears of a foreign tourist
purchasing five hundred or a thousand netsuke to take back to his
home country. Many such netsuke are coarsely carved for the foreign
buyer.
Nevertheless, netsuke exported in quantity to foreign countries in-
cluded both good and bad examples. There are a considerable number
of collections of netsuke on display in foreign museums. Good books
on the subject of netsuke are published abroad, and articles on netsuke
with many illustrations are carried in foreign magazines. In our coun-
try, on the other hand, there is no comprehensive publication on ne-
tsuke, and I regret very much to say that the collection of netsuke at
the Imperial Household Museum is quite poor.

168 • NETSUKE
 13: Observations
on Netsuke
by Periods
For the purposes of discussion, it is convenient to divide
the history of netsuke into three periods: early, middle, and late.

EARLY PERIOD
This division covers the period from the birth of the netsuke through
the Kansei era, which ended in 1800. Early in the Tokugawa period,
many Chinese Japan and taught the Chinese classics.
priests visited
Chinese literature and history became widely known. The dissemina-
tion of books containing numerous illustrations with explanations in
simple language stimulated interest. Among such books were the San-
kaikyo ,
the Ressendenzu and the Doshaku (Drawings of Saints of Bud-
,

dhism and Taoism). A great variety of Chinese legends and historical

episodes were ultimately Japanized to become part of our own herit-
age. The absorption of Chinese literature and legend greatly influenced
the development of netsuke. Shuzan Yoshimura, for example, carved
netsuke using sennin and other Chinese figures from the Sankaikyo as
models. Shuzan was awarded the title of hogan for his painting, but
he was also renowned as a netsuke carver. Influenced by Shuzan’s great
reputation, many other netsuke carvers copied his style and his practice
of portraying Chinese legend and fantasy.
Our people admired not only the Chinese classics but also Chinese
objets d’ art. Netsuke designs were greatly influenced by art objects im-

ported from China. Seals, sword handles, cane heads, formal dress
ornaments, pendants, and similar articles of Chinese origin were
used in their original condition as netsuke by the simple addition of
cord holes. The influence of Chinese art objects explains the wide-
spread adoption of the shishi design in ordinary netsuke and in seal
netsuke (Fig. 51).

BY PERIODS • 169
 Basho, the great haiku (seventeen-syllable verse form) poet of the
Tokugawa period, had many pupils who went on walking tours
through the countryside, spreading the charm of the haiku verse form.
Strangely enough, Basho’s poetry had a marked influence on the de-
sign of netsuke. The haiku’s subtlety, harmony, and concern with the
seasons permeated all art forms, including netsuke. The fine netsuke
carvers followed the trend by creating designs of subtlety, seasonable-
ness, delicacy, and charm.
Thecarving of Buddhist images and of architectural decorations was
at that time in a state of decline. On the other hand, the carving of
netsuke was progressing. The sculptors of Buddhist images and of archi-
tectural decorations found leisure to carve netsuke as an avocation or
amusement. They were concerned with the design of netsuke rather
than with techniques and mechanics of carving. The early users of
netsuke also appreciated design above all, and they frequently thought
out interesting ideas which they requested their favorite artists to inter-
pret in netsuke. In this period, design was paramount.
Minko of Ise concentrated all his creative forces on designs for
netsuke. He despised realistic sketching as a dissipation of creative
energy. It is said that he expelled any of his pupils who dared to carve
a realistic design. The Daruma with revolving eyes is one of the de-
signs created by Minko.
To summarize, in the early period many artists carved netsuke as a
hobby. The subject matter was taken mainly from Chinese legend and
history and from haiku and waka(verse form of thirty-one syllables).
Besides, imported Chinese art objects were often either adapted
as netsuke, or their designs were modified for carving as netsuke.
The early period may be characterized as the period of design in con-
trast to technique. We may describe it as a preparatory period for the
golden age to follow: the middle period.

MIDDLE PERIOD
The middle period represents a span of sixty-eight years from Kyowa
through Bunka and Bunsei until the Meiji Restoration. Netsuke carv-
ing as an amusement and an avocation increased during this period.
Many of the artists who enjoyed the patronage of the shogunate carved
netsuke as a pastime. For such artists, the main concern was the design,

170 • NETSUKE
and they created many fine netsuke of superb quality. Many artists
whose entire productivity was confined to netsuke made their appear-
ance at this time. They were the netsuke artists, and the golden age
of netsuke had arrived.
In the field of painting, Okyo Maruyama of Kyoto (1733-1795)
had established the sketching school the : pictorial school of art. He had
many followers who spread the tenets of the pictorial school through-
out Kyoto, Osaka, Nagoya, and Tokyo. Both Matsumura Gekkei
and his brother Keibun devoted themselves to real-life sketching
and taught many pupils. Such noted painters as Chikuden Tano-
mura and Kaioku Nukina espoused the ideas of the sketching school,
and appeared certain that pictorial art must overwhelm all other
it

approaches to painting. Naturally the pictorial school of painting ex-

erted a strong effect upon the creation of netsuke, which came to be
fashioned more and more after real-life models and sketches.
The influence of the ukiyo-e, which was then at its zenith, also pro-
foundly affected the carving of netsuke. The Manga and other illustrat-
ed books of Hokusai Katsushika were used as source books and models
for netsuke designs. The waka and the comic poems of Moto-ori
Norinaga and Shokusanjin also furnished ideas from their enormous
range of subject matter, covering everything from daily activities to
—
imaginary beings all of which were carved into netsuke.
Chikamasa Shominsai (B 30) of Tokyo made his appearance in
this period. He taught his brother Tomochika Yamaguchi his tech-
nique, and ultimately Tomochika concentrated solely on the pro-
duction of netsuke. Ryukei of Tokyo also specialized in netsuke, and
both Tomochika and Ryukei trained a large number of pupils.
In addition to netsuke of the type described above, Nara dolls were
made from the beginning of Bunka (1804), and Uji tea-picker dolls
were designed by Gyuka Kamibayashi. In Hida, at Takayama, single-
knife carvings were produced, and at Otokoyama small pigeon netsuke
were made.
Most of the netsuke of Edo were destroyed by fire at the time of the
great earthquake of Ansei in 1854. It was virtually impossible to meet
all at once the sudden and enormous requirement for netsuke that

followed the destruction by the earthquake. As a makeshift, ivory, nar-

whal, and horn were cut into simple round slices into which holes
were drilled to form impromptu netsuke. Manju and kagamibuta

by periods •
171
netsuke became popular because these types could be manufactured
quickly, especially by the use of lathes. Only a token amount of decora-
tion or carving —
was done on these netsuke a quite pardonable prac-
tice under the circumstances.
To summarize, netsuke carved in the middle period grew into an
original art form that compared favorably with sword furnishings and
other art forms. The materials and designs of netsuke were tremen-
dously varied, and great numbers were produced. The number of artists
who fashioned netsuke as an avocation or amusement increased, and
there arose a class of artists who devoted themselves exclusively to the
art of netsuke: the true netsuke artists. In Tokyo, Osaka, and Kyoto
there were prominent dealers who specialized in netsuke. Certainly
this was the golden age of the art.

LATE PERIOD
This period covers the time from the Meiji Restoration to the present.
As previously mentioned, the early years of Meiji witnessed a decline
in art, and the netsuke lost its importance. Moreover, the vogue of
carrying the netsuke and tobacco pouch declined when cigarettes re-
placed pipes. Ultimately the tobacco pouch and the netsuke fell into
almost complete disuse.
Under these circumstances, the metal and the netsuke artists gradu-
patronage and were reduced to a harsh struggle for their
ally lost their
daily food. At this point, fortunately, foreigners visited our country,
and their interests fastened on Japanese art objects, which they bought
up in large quantities. Numerous art objects were carried to foreign
shores in the space of only a few years. The netsuke, as a characteristic
art form of Japan, found immediate favor in the eyes of foreigners. It
thrived so well on the new export boom that not only netsuke artists
but also metal and other artists turned to the fashioning of netsuke as
a means of livelihood.
Since ivory was the preferred material for carving netsuke for ex-
port, there was a consequent development of skill in the handling of
this material. Ivory carving, which had in the past been limited to
netsuke, was now expanded to include okimono, and a new epoch in
the history of Japanese sculptural art began. At an art exposition
held in 1877, only one ivory carving was on display. In 1881, just four

172 • NETSUKE
years later, half the items displayed at an art exposition were ivory
okimono. Foreign orders for okimono were usually filled by the simple

device of copying netsuke in a large size and omitting the cord holes.
Thus netsuke served as the models and standards for later ivory carv-
ings.

Our artistic world was at this time frozen and lifeless. Through the
efforts of Ernest F. Fenollosa — an American employed by the Ministry
of Education —Okakura Kakuzo, and others, an art school was estab-
lished at Kobu University in 1876. In 1887, legislation establishing
the Tokyo Art Academy was enacted, and classes were begun the
following year. The traditional method of training artists through a
master and apprentice relationship was discarded. Instead, the cultiva-
tion of artists and sculptors by means of modern educational methods
was instituted. Students studied drawing, Western sculpture, ancient
Nara carving, and other and
subjects. Stylized Buddhist sculpture
ornamentation were replaced by an individual
traditional architectural
and independent approach.
Kyuichi Takeuchi, the first professor of the sculpture department
of the Tokyo Art Academy, was originally a netsuke carver, and other
faculty members like Gyokuzan Asahi, Tessai Kano, and Mitsuaki
Ishikawa had devoted themselves to this art. In 1890, the system
of the court artist was instituted, and in 1907, an art committee was
established as a section of the Ministry of Education. A little later,
regular art exhibitions were sponsored by the Ministry of Education.
The Tokyo Carvers’ Association was organized in 1877 with Kaneda
Kanejiro, Mitsuaki Ishikawa, Gyokuzan Asahi, and other carvers as
charter members and with the support of about twenty dealers in
ivory carvings. The members met on the 20th of each month at
Kaneda’s home. Each brought his latest work, which was passed
around for study and criticism. The membership grew, and the meet-
ing place was changed in 1879 to Shinobazu-no-Ike at Ueno in To-
kyo. The name of the association was changed to “Club for the En-
couragement of Art” and later to “Carving Contest Meeting Associa-
tion.” Sometimes connoisseurs like Fenollosa were asked to lecture.
A general meeting was held annually at which each artist displayed
his best work, and a prize was awarded to the winning artist.
In February 1887, the governing regulations were revised, and the
name reverted to “Tokyo Carvers’ Association.” A contest in carving

by periods • 173
was held every year, and there were also monthly meetings for study
and lectures. The association sponsored foreign exhibitions of the
carvings of its members and thereby greatly stimulated this art form.
It also held study meetings at the Seibikan, a showroom where the

work of the members was on constant display. It received encourage-

ment from the Imperial Household, which favored it with occasional
orders.
In 1923, the Seibikan was destroyed in the Great Earthquake. The
merged with the Japan Art Associa-
following year, the association was
tion, and thus ended the glorious Tokyo Carvers’ Association. Need-
less to say, the encouragement that it gave to the art of the carver in

Japan was inestimable.

To summarize, in the later period the netsuke lost its practical
and became a collector’s item. It was collected by both
raison d'etre

Japanese and foreigners. The netsuke artists of this period may be

divided into two groups, the first being those who studied and de-
veloped in the traditional apprentice system; the second, those aspir-
ing artists who received regular instruction in the new art schools.
Both groups carved netsuke as a hobby or avocation. Since the netsuke
was no longer bound by the strict limitations imposed by use, the
artists created more elaborate designs. Complicated and unusual ones

were devised, and many old designs were simply copied with a greater
wealth of detail. Moreover, netsuke for export were made in large
numbers and sold to foreign tourists. Export netsuke were usually
made of ivory and carved with a view towards saving as much time
and labor as possible, the main consideration being the financial return.
In this period the majority of netsuke were made for foreigners.
Nevertheless, the master carvers continued carving for pleasure or as
an avocation.

174 • NETSUKE
 3
172. Oni with a Club. (Negoro lacquer. 3 / 16
". Unsigned. See B 758.) This ne-
tsuke, which portrays a powerful demon armed with a club, Japanese
illustrates the

saying, “Oni ni kanabo” (literally, “a demon with an iron rod”) or “the strong
made stronger.” The expression is analogous to “gilding the lily.” The negoro
lacquer of which the netsuke is made is named after the priests of Negoro in old Kii
Province (now Wakayama Prefecture), who developed the process of polishing red
lacquer on a black base to attain a pleasing blotched effect.

175
 173. Sotoba Komachi. (Wood.
1
3 ".
Signed Masahiro, in em-
:
/ 16

bossed characters. B 590.) The

famed poet and beauty, Ono no
Komachi, as an ugly old wom-
an. She is represented here as
Sotoba Komachi (Grave-Post Ko-
machi). Having rejected her nu-
merous suitors at the height of her

fame and beauty, she now faces

death loveless and forlorn. See Fig.
174 for another episode in the life

of Komachi.

174. Book-washing Koma-

13
chi. (Wood. 1
/ 16
". Signed :

Masatami. B 623.) Ono no

Komachi, a celebrated poet
of the 9th century, was
the only woman included
among the Rokkasen or Six
Great Poets of ancient
Japan. Represented here is

Soshi-arai Komachi or the

Book-washing Komachi, so
named for an episode in

which a rival poet accused ^

her of plagiarism. Having
heard her recite one of her
poems, he copied it into an
8th-century book and pre-
sented this as evidence to

support his charge. Ko-

machi asked that water be
brought, and with it she
washed away the fresh ink,

thus vindicating herself com-

pletely. For other irepre-

sentations of Komachi, sec

Figs. 173 and 199.

176
 s Signed. Ikkyu. B 54.,.) An
175. Octopus. (Wood; eyes inlaid with horn. 2 )6 .

>ctopus that stands upright on its sucker-bearing arms.

177
 T
176. Wild Boar. (Wood; tusks inlaid
l5 ,/
in ivory. 1
/ 16 long. Signed: Masakiyo
B 598.) The wild boar, which occupies
the last position among the twelve ani-
mals of the Japanese zodiac, is noted for
rushing headlong to the attack, looking
neither to right nor left. For this reason,

it is regarded as a symbol of rash but

courageous action, and persons born in
the Year of the Wild Boar are traditionally
believed to have a brave but reckless
character

177. Sansukumi. (Frog and snake: wood;

//
snail : Signed Chokusai. B
ivory. 1
1
/2 .

55.) The combination of snail, snake, and

frog, known in Japanese as sansukumi,

symbolizes an endless system of check and

countercheck. The snake can eat the
frog, and the frog can eat the snail, but
the snail is poisonous to the snake.
Therefore, in combination, the three are
mutually deterrent. The group is also a
reference to the story of Jiraiya. The
artist’s signature appears on an inlaid
ivory plaque.

178. Gama Sennin. (Ivory. 1

3
/8
". Signed :

Gyokumin. B 148.) Gama Sennin, the

“immortal” hermit whose attribute is the
toad. For another illustration of Gama
Sennin sec Fig. 89.

178
179. Badger and Drum. (Wood. 1 5 /8 ". Signed:
Masakatsu. B 594.) A badger holds a Japanese
hand drum (tsuzumi). The allusion is to the-*
popular legend that the badger is able to inflate
his belly and beat it like a drum in the night.

"
180. Coiled Dragon. (Wood. 1 5 / 8
long. Signed: Gechu, in embossed
characters. B 113.) The animal is

represented coiled for use as a ne-

tsuke.

181. Kintaro and the Carp. (Ivory.

3 //
1
/8 . Signed: Doraku. Kakihan.
B 85.) Kintaro (Golden Boy) was a
legendary child of prodigious strength
who was nurtured by a mountain
witch (yama uba) . He grew up as a
playmate of the wild animals of the
forest. Kintaro is also known as Kin-
toki. Legend has it that other Japa-
nese heroes such as Benkei and Yo-
shitsune also subdued huge carp
while still children.

179
 182. Hotei, God of Happiness.
(Ivory, wood, and semiprecious
1
stones. 1
/2
". Signed: Meikei.
This an art name of Hojitsu. B
is

243.) The household god of happi-

ness Hotei, is one of the Seven
>

Gods of fortune. The rosary he

wears in this netsuke is made of
semiprecious stones. For another
illustration of Hotei, see Fig. 36.
The artist’s signature appears on
an inlaid ivory plaque.

183. Rokkasen. (Wood. «/„"• Signed: Masayuki.

1
B
645.) The Six Famous Poets of 9th-century Japan are
known collectively as the Rokkasen. Here they arc fanciful-
ly represented in a free-for-all, as if struggling for
poetic
supremacy. A pun on their title, which can also mean
six battles, is suggested. The artist’s signature appears
on an inlaid ivory plaque.

180
 3 ". Signed: Isshin. B 361.) The
184. Sea Horse. (Wood. 3 /8

design of the sea horse is stylized for function as a netsuke.

181
 '

< ^ -4
{(
*Ik'*
in-#
J}|fc
W
185. Bon Odori. (Ivory.
3
1
/4
". Signed: Minkoku. B
667.) A man and a woman
celebrate the festival of O-bon
with the folk dance called
bon odori. For an illustration
of a more religious phase of
the O-bon celebration, see
Fig. 198.

186. Woman Traveler. (Ivory. 2 3

/ ft
".

Signed: Minkoku. B 667.) A well-to-do

woman of the Tokugawa period dressed
for travel. She carries her lacquered
traveling hat and a bamboo walking
stick and wears a scarf to protect her

head from dust and sun.

182
187. Cow. (Ivory. 7 / 8 " long. Signed: Mitsusada
1
in. B 702.) A
stylized cow simulating the clay toys sold as souvenirs at the Fushimi

Shrine near Kyoto.

T
188. Basket of Fish. (Ivory; eyes inlaid in black coral. 2" long.
Signed: Mitsutoshi. B 707.) Carp and catfish in a wicker basket,
possibly for presentation as a congratulatory gift.

183
 189. Lion Dance. (Ivory. 2".

Signed: Nobumasa. B 771.) The

shishimai (lion dance) is often
performed by itinerant, enter-
tainers. The dancer wears a
lion-head mask and shakes a
sacred Buddhist rattle to en-
hance the effect. The rattle in--*

dicates the probable religious

origin of the dance. It is said
that the lion dancers drink
vinegar to keep their bones soft

and supple for the dance. See

Figs. 103, 118, 119, 130, 153, and
212 for depictions of other dances.

190. Asahina Saburo. (Ivory.

2 V8 " long. Signed: O toman
Matsushita. B 788.) The leg-

endary figure of Asahina Sabu-

ro is a kind of Japanese Gul-
liver and Hercules combined.
He appears in both the Kyogen
(comic interludes) of the Noh
theater and the famous collec-
tion of talcs called the Azuma
Kagami. Here he is shown en-
joying a tug-of-war with a
demon — probably one of the
assistants of Emma-o, the King
of Hades.

184
 " long. Signed: Kiyoshi in.) The carp because of
its
H. Carp. (Ebony. 3 \/ 4
and virility and is
aility to fight its way up swift streams, is a symbol of courage
ius a fitting emblem for the Boys’ Day festival.

185
 192. Woman Blackening Teeth.
(Ivory. 3 ".
1
/4 Signed: Ryo. B 830.) An
old woman blackening her teeth as she
looks into a bronze mirror. Married
women formerly blackened their teeth
and shaved their eyebrows as indications
of tidelity to their husbands. These
strange customs have not been
practiced
since the end ol the Meiji period.

193. Foreign Barbarian. (Wood;

eyes and buttons inlaid in horn
and
ivory. 4 5 ".
/g Signed: Ryusai.)
Namban (southern barbarian) was a
term usually applied by the
Japa-
nese to the indigenes of the
South ^
Sea Islands but, by extension, was
also used for the Portuguese
and the
Dutch when they first visited Japan.
The barbarian” here carries a
monkey and a quiver filled with
arrows.

186
 194. Kirin. (Ivory. 4 1
/
8
". Signed.
Yoshimasa. B 1300.) T he kirin is one
of the four auspicious animals of
Chinese origin which include the
turtle, the crane, and the phoenix.
It bears vague similarities to the
unicorn and the giraffe.

T
195. Cicada on Tile. (Ivory. V long. Signed:
1
!

I<;

Shigemasa. B 968.) Roof tiles in Japan are often

thrown to the ground by wind, rain, or earthquake.
This may account for the frequency with which they
are represented in netsuke as perches for cocks, bats,
cicadas, etc.

187
 196. Okame. (Gold lacquer. I

9 ".
2 /i 6 Signed Kansai saku.
:

B 449.) Okame half con- I

ceals her face behind a sleeve I

in mock modesty. Compare

Figs. 91, 120, 132, and 150.

13 ".
197. Ink Stick. (Black lacquer. 1
/ 16 Signed: Zeshin.
B 1337.) A fine black-lacquer (tsuikoku) netsuke simulat-
ing an ink stick. The ink stick is rubbed in a small amount
of water to produce a black ink. The signature of the
carver is in his distinctive sharply incised characters.

188
198. Nio and Oni at the O-bon Festival. (Boxwood. 1
15
/ 16
". Signed: Soko saku.
Morita, the carver’s surname, appears in a gold seal. B1 101.) A Nio (Deva King) and
an oni, the representatives of good and evil, embrace fondly as they prepare to
pour water and place flowers at the graves of the departed —one of the principal
ceremonies of the O-bon festival in remembrance of the dead. The netsuke illus-
trates the Shinto belief that the dead are beyond good and evil and are worthy of
reverence from both friends and enemies. To the passive Roman maxim, “About
the dead, say nothing but good,” the Japanese add active ancestor worship.
 I

199. Skeleton and Wolf. (Wood/

15
1
/i 6
"- Signed: Shoko. B 1010.)'

Most probably an allusion to Ko-

machi and Fukakasa Shosho. Fuka-
kasa was a tempestuous general who
lost his life in a vain effort to provel
his love for Komachi, while she j

survived into a loveless old age. To

the Japanese the tempestuousness
of Fukakasa, symbolized by the
wolf, and the pride of Komachi,
symbolized by the skeleton, allego-
rize the vanity of life.

200. Fnsiii. (Wood. 15 ".

1
/ lfi Signed:
Ryukosai. B 860.) Enshi is one
of the Twenty-four Paragons of
Filial Piety. To secure the deer’s
milk which was the sole remedy for
4
his mother’s eye disease, Enshi dis-
guised himself in a stag skin and
mingled with the herd. For other
examples of nctsukc portraying
filial piety, sec Figs. 11 and 53.

190
201. Kan-u Mounted. (Wood. 2 7
/8
". Unsigned.) Kan-u, the famous Chinese
military strategist of the Han period,mounted on his horse and stroking his long
black beard. See Fig. 9 for an illustration of Kan-u as a standing figure.

191
 202. Handaka Sonja. (Wood inlaid with ivory,
pearl, yellow shell, and black 3
coral. 1
/8
". Signed:
Soshin.) A representation of Handaka Sonja, one
of the Rakan. He is seated in
a teppatsu, a Buddhist
begging bowl, through the cracks
of which a dragon
may be seen. For another illustration
of Handaka
Sonja, see Fig. 82.

203. Polishing a Bell.

(Ivory. l ".
1
/ 16 Signed:
Shuosai. B 1073.) A tem-
ple servant with a
gro-
tesque face polishes a mas-
sive bell.

192
204. Raijin, God of Thun-
der. (Wood. 1 3 / 8 " long.
Signed: Rakumin. Kakihan.
B 794.) Raijin, the god of
thunder (also called Kami-
nari), peers through the
clouds for a good place to

hurl his thunderbolts. See

Fig. 85 for a mask of Raijin
as used in the Xoh drama.

"
205. Lion Dancer. (Ivory. 1
l
/2 long. Signed: Shuosai. B
1073.) A Japanese version of Pygmalion’s sculpture of Gala-
tea. The lion dancer is so wondrously painted that he
springs to life out of the kakemono. He holds a branch of
peonies, the flower associated with the lion or shishi. The
association stems from the concept that, just as the lion is

king among beasts, the peony is kingamong flowers. The

lion dance is the high point of the Noh play Shakkyo (The
Stone Bridge). Note the “lion-hair” design on the actor’s
kimono.

193
 206. Quails. (Ivory. 1
5 " long.
/g
Signed: Okatomo. B 784.)
pair of quails standing on a head
of millet.

207. Kappa and Frog. (Wood.

1
I /o long. Signed: Tamekazu.
A kappa and a frog are shown
hand-wrestling on a lotus leaf.
See Fig. 78 for another illustra-
tion of the kappa and for com-
ment about him.

208. Chokaro Sennin. (Ivory.

5 ".
1
/8 Signed: Ryomin. B 838.)
The aetsuke illustrates the story
of Chokaro, one of the Taoist
“immortals” (sennin), and his
magic horse, w'hich carried him
thousands of miles yet could be
tucked into a gourd. A popular
Japanese saying based on Cho-
karo s horse emerging from the
gourd— “Hyotan kara koma”
means an unexpected occur-
rence.

194
209. South Sea Primitive. (Ebony inlaid
with coral and ivory. 1
11
/ 16
" Signed Un-
koku.) A South Sea Islander (namban or
more particularly kurombo, the term applied 4
to natives of the South Pacific Islands.)

holding a branch of coral. For other

comment on namban, see Fig. 193.

7 ".
210. Buddhist Gong. (Wood. 1
/ 16

Signed: Kyusai. B 576.) One of the many

types of Buddhist gongs known as moku-
gyo. A side panel opens on a hinge to
mokugyo. The
reveal a string of 108 tiny
number 108 has a magical significance in
some sects of Buddhism. For other repre-
sentations of Buddhist gongs, see Figs. 24,
48, and 157.

3 ".
211. Fugen Bosatsu. (Ivory. 1 /8

Signed: Gyokuso. B 160.) A travesty on

Fugen Bosatsu, a sacred Bodhisattva rep-.*
resented seated on an elephant. Here
the figure is a courtesan reading not a
sutra but a love letter.

195
 212. Noh Dancer. (Ivory. 1
,3 ".
/ 16
Signed: Shizumori.) A Noh dancer
wearing the mask of Okina, the
happy
oldman. See Fig. 4 for another illustra-^j
tion of the Okina mask.
For other re-
presentations of dances, see Figs.
103,
118, 119, 130, 153, and 189.

213. Abstract Chestnut. (Ivory

1 V8 "long. Signed: Ryomin.
Ka
kihan. B 837.) A chestnut in ar
interesting abstract form.
A populai
confection made of sweetened
chestnut and similarly shaped is
sold in Japan.

214. Sleeping Deer. (Ivory. 3 "

1

long. Signed: Heita.)

The deer *is
the kami no tsukai (god's messenger)
of the Kasuga Shrine at Nara.
where it is regarded as a sacred
animal and wanders freely
about in
herds, unmolested and quite tame.
196
215. Boy and Bird Cage.
5 ".
(Ivory. 1
/ 16 Signed: Kojitsu.
B 520.) A young Japanese boy^
holding a bird cage. His kimono
is decorated with auspicious
symbols.

l "
216. Puppy. (Ivory. 1
l2 long.
Signed: Dosho. B 89.) Since
ancient times in Japan, the dog
has been the symbol of good
health, and robust children are
commonly described as being •<
healthy as puppies. For this

reason, it has long been the

custom to present newborn
babies with toy dogs as a charm
to insure their healthy growth.

217. Ryusa Netsuke. (Ivory.

Diameter: 1
A ". Signed: Nao-
lx

tsugu.) A ball-shaped ryusa ne-

tsuke in an allover chrysanthe-
mum flower and leaf design. A
poor shape for a netsuke, how-
ever, since its constant rolling
about would cause annoyance.
See text, page 160.

197
 218. Tiger. (Ivory; eyes inlaid in
amber and horn. Signed Otoman. :

B 788.) The tiger, not native to

Japan but well known from early
days through reports from China,
is naturally the symbol of fierceness
and strength. In Japanese art, the
tiger is conventionally portrayed in
association with the bamboo. One
interpretation of this association
is that the tiger beneath the bam-
boo symbolizes the power of faith.

219.Frog on a Mushroom.
(Wood; eyes inlaid in shell and
black coral. 1
3
/4
" long. Signed:
Sukenaga Hida. B 1 124.) The frog
portrayed here is sometimes called
a rain frog because its singing is

believed to presage rain.

220. Sleeping Student. (Ivory.

/
1
1
/4
'. Signed : Tomochika. B
1197.) A first-year student has
fallen fast asleep over his “alpha-

bet” after having written the first

four characters: i, ro, ha, ni. The

Japanese alphabet is actually a
syllabary composed of forty-seven
signs, of which i, ro, ha, and ni
are the first four. The writing is

carved in reverse since the wet

black ink shows through the thin
sheet of exercise paper.

198
 222. Noh Mask: Jo. (Ivory.
5 ". Signed: Mitsuyuki.) Jo, the
1
/8

husband, and Uba, the wife, are

the happy old couple in the Noh
play Takasago, which is often per-

T formed at New Year celebrations

221. Kaibutsu. (Wood. 2 l

/2
". Unsigned.) because of its auspicious character.
Fantastic animals are known in Japan as kai- In the drama, Jo is revealed to be
butsu. Most kaibutsu represented in netsuke the god of Sumiyoshi and his wife
are modeled after old Chinese drawings. The the goddess of Takasago. The
one illustrated here is found in the SokenKisho, netsuke has a metal pin and a ring
from which it may have been copied, if not inserted on the reverse side for at-

from an earlier Chinese book. tachment of the inro cord.

223. Clams. (Lacquered wood.

1
1 " long. Signed:Tadayoshi.
/4

B 1 149.) The realistic efTect of this

netsuke in lacquered wood attests

to Tadayoshi’s skill in carving

shells. His signature appears on
the netsuke in raised characters
and includes the name of his birth-
place, which is partially indeci-
pherable.

199
 3 ".
224. Shoki the Demon Queller. (Ivory. /8 Signed: 1

Yoshinaga. B 1302.) Shoki, a legendary Chinese figure

dating from the days of the T‘ang dynasty, reputedly has the
power of overcoming and expelling devils. During the Boys’
Day festival his image is placed in a position of honor in the
household in order that the sons of the family may be pro-
tected from evil and grow up to be strong enough to fight
demons, as Shoki himself does. See Figs. 62 and 143.

225. Blind Man and Dog. (Bamboo.

2". Signed: Yurin.) A blind man fright-
ened by a dog. The Occidental tends to
be appalled at the mockery of the plight
of blind men as represented in nctsuke.
It must be remembered, however, that the-*
role of moneylender was monopolized by

the blind through Tokugawa edict.

Moneylenders are never popular. Mas-
sage was another profession once restricted
to the blind.

226. Ono no Tofu. (Ivory. 3/4 ". Unsigned.) A variant

1

of the story of Ono no Tofu, the famous calligraphist

who learned perseverance by watching a tree frog
finally reach a high branch after many successive fail-
ures. Here the frog is attempting to jump on Tofu. For
another illustration of Ono no Tofu, see Fig. 83.

200
 14: Literature on
Netsuke and
Netsuke Collectors
An author from the West writes that although Japan is
the home of netsuke, the Japanese neither study nor collect them.
Many of the art critics of our country disparage or ignore netsuke,
regarding them as an inferior form ofart. It cannot be denied, how-

ever, that netsuke attained theirgrowth and popularity during the

Tokugawa period, an era of peace during which our culture, de-
tached and isolated, matured free from all foreign artistic influences.
For these reasons, the netsuke is the art form that is most purely
Japanese and most representative of our basic artistic characteristics.
Until recently the Soken Kisho was the only book on the subject of
netsuke written in our country. It was published by Inaba Tsuryu
in 1781 and consists of seven volumes. The first five of these deal
with swords and sword furnishings, the sixth with leather pouches and
inro, and the seventh with netsuke and ojime. The author writes as
follows: “Inro, purses, and hanging things are suspended by objects
called netsuke. In the Meibutsu Rokujo, however, the term kensui (sus-
pending) is used. There are many artisans who carve netsuke and
who have become popular. Now I shall give the names of some of
these craftsmen and illustrate some of their carvings for your appre-
ciation, without regard to the quality of their workmanship.”
The author of the Soken Kisho lists the names of fifty-three netsuke
carvers, giving a brief history of each and illustrations of his work. In
addition, he writes about sundial netsuke and Chinese-style (tobori)

netsuke, furnishing various illustrations. The Soken Kisho contains

prefaces by the famous Confucianist Ryukobi and others, as well as
postscripts written by Inaba’s brothers, Tsuho and Rinzo. According
to these postscripts, Inaba Tsuryu lived at Nishi Shinsai-bashi, Shio-
machi, Osaka. His popular name (tsusho) was Shinzaemon, and his
pen name (go) was Shisuikan Shujin.

AND NETSUKE COLLECTORS •

201
 Inaba engaged in the business of assembling and decorating swords,
having inherited his master’s trade as well as his fine character. He was
ever at pains to improve his judgment and did not concern himself
with selling an article until he had investigated in detail the quality
and authenticity of the smallest item. He deplored the fact that those
who had developed knowledge and judgment kept their criteria and
information secret, imparting nothing to others. In protest, Inaba
reduced his various studies to writing and devoted himself to the com-
pilation and editing of information. The Soken Kisho has been quoted
in many Japanese and Occidental books about netsuke. Its publica-
tion benefited principally the making of sword furnishings but also
the making of netsuke. In May, 1934, its author was posthumously
honored by the Osaka Arts and Crafts Association for his distinguished
service in the encouragement of arts and crafts.
Inaba Tsuryu also wrote Samekawa Seigi (Commentary on Shark-
skin) and Sarasafu (Album of Calico). He died on February 22 in
1786 at the age of fifty-one. He was buried at the Hongaku-ji in
Osaka and was given the posthumous Buddhist name of Tsushinin
Kenryu Hiki.
During 1852 an old man named Kogetsu wrote Sakasuikoshu (Brief
Biographies of Old Tea Masters). It consisted of five volumes to which
he added a supplement in 1882. The fourth volume is illustrated with
some pictures of netsuke, but the names of the carvers and most of the
illustrations are merely reprinted from the Soken Kisho. Kogetsu’s new
material on netsuke comprised only brief biographies of two or three
carvers.
The Kyuichi Takeuchi, a former professor of the Tokyo Art
late
Academy, made an exhaustive study of netsuke. He lectured occa-
sionally on the subject and contributed articles on netsuke to the
magazines. His exposition of netsuke appears in one of the encyclo-
pedias. I understand that the collection of netsuke maintained by the
Tokyo Imperial Household Museum was assembled by Takeuchi’s
assistants.

In April, 1934, I wrote Shumi no Netsuke (Netsuke as a Hobby), and

in January, 1936, Sasaki Chuiiro, Professor Emeritus of Tokyo Im-
perial University, brought out his Netsuke of Japan. The latter should
be regarded as a catalog rather than a study. The explanatory ma-
terial is extremely simple. Since Sasaki is a long-time scholar of natural

202 • NETSUKE
history, he was able to make drawings of netsuke from his collection
in lieu of photographs. His book is a good guide for netsuke designs.
There are no books on netsuke other than these. However, many
books were published in early Meiji to supply models and sources of
netsuke designs. For this purpose, Hokusai’s Manga was in demand.
Other reference books included the Banshoku £uko (Illustrations of
Multitudinous Occupations), the Bambutsu £ukai Isai Gashiki (Isai’s
Designs for Everything), and the Bijutsu Chokoku Gafu (Art of Sculpture
Illustrated). These books were used principally by the netsuke
carvers of Tokyo and not by those of Kansai and Chukyo. Neverthe-
less, I have seen a mushroom netsuke made by the first Masanao which
has exactly the same design as a mushroom illustrated in the Bambutsu
Zukai Isai Gashiki.
The minute, delicate, patient art of netsuke carving, lovingly carried
out by skilled Japanese hands, is not an art duplicated by foreigners.
Nevertheless, netsuke appeal to the fancy of the West and have been
exported since the late Tokugawa Europe and
period. Connoisseurs in
America began the collection and study of netsuke. In 1905, a German,
Albert Brockhaus, brought out a huge volume entitled Netsuke that
comprises 500 pages and 272 illustrations, of which 53 are in color.
In his preface, Brockhaus states that the netsuke as an art form existed
at only one time and in only one place: Tokugawa Japan. The depth
of his study is revealed in many portions of his book, and its publica-
tion was a great service to netsuke. Moreover, Brockhaus is himself a
great collector, and his fine collection is a glory to his country.
In 1924, another book entitled Netsuke was published in English.
The author was F. M. Jonas, an Englishman who lived in Kobe for
a long time and devoted himself to the study and collecting of netsuke.
Another edition of the Jonas book was published in 1928. I met Jonas
on two or three occasions and learned a great deal about the subject
from him.
Besides these, the Frenchman Louis Gonse gives a comprehensive
description of netsuke in his book, V Art Japonais, which was published
in 1886, and the Englishman Edward Dillon does the same in his
The Japan Society in London published a special issue
Arts of Japan.
on netsuke and inro as Volume III (Fourth Session, 1894-1895) of its
Transactions and Proceedings. Unfortunately, the pieces illustrated in the
Transactiojis are not masterpieces. Even my limited acquaintanceship

AND NETSUKE COLLECTORS • 203

indicates that excellent studies of netsuke like thosementioned above
have been published in the Occident.
In our country it must be conceded that the best netsuke collection
is the one maintained at the Tokyo Imperial Household Museum.

The total number is quite small, and the majority of these originated
in the Tokyo area. In my view, the number of carvers represented in
the collection is much too small, and the quality of the pieces is much
too poor for the Imperial Household Museum. Other museums have
no netsuke collections whatsoever. I understand that Baron Go has
a private collection of about three thousand netsuke, but I have not
seen them. Mr. Jonas collected about a thousand, but I do not know
whether he still retains them. A few years ago, I examined the collec-
tion of Sasaki Chujiro, which numbers about fifteen hundred items.
Most of them are badly defaced by wear. Sasaki also collected sashi
netsuke, and his present aim is to collect ancient wooden ones.
Fujii Zensuke of Kyoto owns about two hundred netsuke, most of
which are very old pieces. Some of them are superb. Tanigawa Kiroku
of Nara has collected numerous carvings by Toen Morikawa, the
famous Nara artist, of which some fifty to sixty are netsuke. In addi-
tion to the work of Toen, Tanigawa owns works by many other
carvers. Yamaguchi Kichirobei of Ashiya, Hyogo, has one hundred
netsuke, including many in porcelain by well-known ceramists. He
also has examples of netsuke by Kaigyokusai and Mitsuhiro. Yasuda
Tasaburo of Osaka has about two hundred metal netsuke made by
Kyubei, an artist about whom he is making a special study. In addi-
tion to the collectors mentioned above, I have met about fifty or sixty
others, each of whom owns about a hundred items. Ejima Shojiro of
Osaka is limiting his collection to netsuke made by Kaigyokusai.
In the West, I am informed, the museums of Germany, England,
and the United States have excellent netsuke collections. Ivan Le-
Page of Brussels has on several occasions written to me, enclosing
photographs of more than a hundred netsuke in color and asking my
opinion. I have a high regard for his intense interest. I understand
that Mr. LePage makes a specialty of collecting netsuke made from
water-buffalo horn.
Some of the literature to whichI have referred in the text is listed
in the bibliography on pages 313-314.

204 • NETSUKE
 ,

15: Reminiscences
of Netsuke Carvers
A VISIT TO KOUN TAKAMURA
During the month of January, 1933, I called at the
residence of Koun Takamura in Havashi-cho, Komagome, Tokyo.
Traces of snow remained among an interesting placement of stepping-
stones and garden trees. After passing the trees, I came to the entrance,
where a servant greeted me. I said that I should like to see the sensei
since I wanted to learn about netsuke, and that I had some specific
questions in mind —
and that this was my only excuse for asking to
meet him despite my not knowing him or even carrying an introduc-
tory letter. I was promptly conducted into the drawing room, and soon
afterwards the master entered. I saw his serene face for the first time.
This kindly, virtuous face, with generously puffed cheeks, flowing
beard, and gentle smile, affected me like a refreshing breeze. My
thoughts turned to my late father, who resembled the sensei, and I
felt that I was seeing him again. As if to further the impression, Ta-
kamura treated me like a son. He
encouraged me to ask questions
freely, just as I should have done if he had been my real father.
The sensei answered my questions courteously and brought to my
notice interesting points that had escaped me. Being insufficiently
informed on the subject of netsuke, I was embarrassed to mention that
I should like to write something on the subject. Takamura suggested

that it would be most difficult to produce the ultimate book on netsuke

at our present stage of limited research but that, even so, it would be
a worthwhile effort to publish what was known. For example, he
pointed out, a carver justly famous in one district might be completely
unknown outside that district. In such cases, proper investigation could
be undertaken only in the artist’s neighborhood. Takamura urged me
to write my book, and simultaneously I took the project to my heart.
I asked the sensei to write the epigraph. He declined on the grounds

of his lack of proficiency in writing, but I urged him to disregard the

REMINISCENCES • 205
niceties of calligraphy and to write as the greatest authority on sculp-
ture in our country. I asked for his epigraph to be of a size suitable
for mounting as a kakemono, since I should like to preserve it for my
descendants. He seemed a little disturbed, and he said: “Then it

becomes more difficult.” Within a few days, he sent me two epigraphs

written on half-size kakemono. On one he had written: “Art is end-
less,” and on the other: “Art equals spirit.”
At the time I am writing about, Takamura was eighty-one years
old. Although it was a bitterly cold day, the sensei made a list of
names and addresses of people among his friends who might help me
in my work. He showed me a netsuke representing a group of walnuts
made by Soko Morita. He prized this netsuke as one of his finest
possessions, and he promised to introduce me to Soko. Takamura
talked to me about netsuke for fully half a day.
While working on my book, I learned that the sensei was ill.Think-
ing of his advanced years, I rushed the publication of my book in
order that he might see it, and in April, 1934, 1 completed and published
Netsuke as a Hobby. It was far from perfect, but I was happy that I

could present a copy to Takamura. Perhaps it helped to divert his

thoughts from his illness. I am filled with gratitude when I recall that
I, unknown and uninvited, called on the most renowned sculptor,
a member of the Arts and Crafts Committee of the Imperial House-
hold and a man of venerable age, and had him give to me unstintingly
of his sage advice and counsel. His nobility of character was on a level
with his greatness as a sculptor.
After my visit I occasionally received letters about netsuke from
Takamura written in his own hand, and my regard for him deepened.
I neglected to mention above that I asked the sensei whether he had
ever carved a netsuke. He said that he had and that he had consigned
some to a pouch shop named Maruka and others to Otaki Tokusabu-
ro. I inquired at Maruka’s and was disappointed to learn that most
of Takamura’s netsuke had been lost in the Great Earthquake.

BESTOWAL OF POSTHUMOUS HONORS

by the Osaka Arts and Crafts Association

To commemorate the tenth anniversary of the founding of the Osaka

Arts and Crafts Association, the society held a ceremony on May 9,

206 • NETSUKE
1934, to confer posthumous honors upon deceased artists and crafts-
men who had rendered distinguished service in the promotion of art-
crafts. The city of Osaka contributed to the event by permitting a

display in the main hall of Osaka Castle of the works of those post-
humously honored. Among those honored, the following were noted
as netsuke carvers or persons who had in some way promoted the
appreciation of netsuke: Shuzan Yoshimura, Shugetsu Higuchi, Mitsu-
hiro Ohara, Gyokkin Iida, Kaigyokusai Yasunaga Masatsugu, Sekka
Shima, Toen Morikawa, Doraku Anrakusai, Dosho Kagei, Masakazu
Sawaki, Masatoshi Sawaki, Ryukei Tanaka Mondo, Kyubei Tobutsu,
and, for his promotion of artcrafts, Inaba Tsuryu.
The bereaved families or their descendants were invited to attend
the ceremony and were presented with certificates of posthumous
honors. Unfortunately the families of Tsuryu, Shuzan, Shugetsu, and
Mitsuhiro could not be found. At a later date, however, the families
of Tsuryu and Mitsuhiro were located.

INABA TSURYU: Through the assistance of the Local History

Society of Osaka, the gravestone of Tsuryu was located at the Hon-
gaku-ji in Osaka. With the gravestone as a starting point, inves-
tigation was begun, and it was determined that Tsuryu was born
in Osaka in 1736, the first son of Inaba Tsushu; that his childhood
name was Ichitaro that he took the name of Shinuemon upon reach-
;

ing his majority; that his nickname was Kyuho but was later changed
to Shunkin: and that his nom was Shizui. Although the family
d’ artiste

trade was the practice of medicine, which Tsuryu would normally

have been expected to follow, he deserted the path of his doctor-
uncle Hayashi Tansui and interested himself in the business of swords,
sword furnishings, and related articles. Later in life, Tsuryu delegated
the management of the business to his younger brother, Tsuho Rinzo,
and spent his time in writing. He wrote Samekawa Seigi and Sarasafu
(also entitled Shinto Sarasa Hinagata) in addition to the Soken Kisho.
He died in 1788 in his fifty-first year and was given the posthumous
Buddhist name of Tsushinin Kenryunikki.
Tsuryu’s wife Ren, whose posthumous Buddhist name was Tsuzein
Myokinichiyu, bore him two children. The first of these died in in-
fancy, while the second called himself Nidai Shinuemon and operated
a shop dealing in swords. Nidai’s descendants continued until Meiji,

REMINISCENCES • 207
when the family line was extinguished in the fifth generation, since
there was no successor to Godaime Kichisaburo. However, the de-
scendants of Tsuryu’s younger brother thrived, and the present head
of the family, Inaba Inosuke, lives at Sumivoshi in Osaka. On Novem-
ber 9, 1941, the family held a memorial service for Inaba Tsuryu at
the Hongaku-ji along with an exhibit of his writings.

SHUZAN YOSHIMURA: The Gravestone Annals of Famous Families

of Naniwa (Osaka), compiled by Miyatake Gaiko tsu and published in
March, 1911, relates that the gravestone of Shuzan Yoshimura is
located at the Komyo-ji, Osaka. The Character Sketches of Osaka
Citizens, compiled by Ishida Seisai, and the Historical Relics and Monu-
ments of Osaka give the same information, but the Brief Account of Visits
to Osaka Gravestones and the Complete History of Osaka do not confirm

this point. In January, 1942, I visited the Komyo-ji and scraped

away the dirt from each of the gravestones but failed to find Shuzan’s.
The temple officials could not help me. It is doubtless true that Shu-
zan’s gravestone was located at the temple prior to 1911, but there-
after it was probably dismantled as an abandoned stone.

MITSUHIRO OHARA: Since it is known that Mitsuhiro in his

later years returned to his birthplace,Onomichi, and died there, I
made inquiries there and learned from Hino Gettei, a local priest,
that Mitsuhiro’s gravestone could be found at the Tennen-ji. Officials
of the temple put me in contact with Mitsuhiro’s family and advised
me of the location of some of his surviving works. I wrote to
the family and on November 27, 1941, had the pleasure of a visit
from Ohara Shuzu, one of Mitsuhiro’s surviving relatives, to whom
I handed the Certificate of Posthumous Honor awarded by the Osaka

Arts and Crafts Association. Thus there was a delay of seven years
between the announcement of the award and the actual delivery to
the family. The four sides of Mitsuhiro’s gravestone read as follows

Front: Sessado Mitsuhiro Shinji (posthumous name).

Back: August 2, Meiji 8 (1875). Grave of Mitsuhiro Ohara.
Right: Erected by Ohara Tosuke.
Left: A strange wind blows across my body. Today is the day that
I depart for the cool world.

208 • NETSUKE
 :

KAIGYOKUSAI YASUNAGA MASATSUGU : I heard that the

gravestone of Masatsugu could be found at the Hoju-in in Osaka.
I could not find it in the section of the cemetery to which I had

been directed. I then checked each gravestone until I found it. The
faces of his stone read as follows

Front: Tokuo Kaigyokuzen Jomon (Kaigyokusai’s first posthumous

name). Tokuju Kakureizen Joni (wife’s first posthumous name).

Back: Erected October 8, Meiji 15 (1882).
Right: Takuzen Hokaku Shinshi (Kaigyokusai’s second posthumous
name). Tongaku Myojo Shinshi (wife’s second posthumous
name).

HOJITSU YAMADA: On September 10, 1942, Soko Morita and

I visited the grave of Hojitsu at the Renkyu-ji of the Nichiren sect in
Osaka. The stone is made of natural marine rock and must have
been erected by his students and relatives in 1894. Portions of the
stone are chipped, and some of the characters have become un-
decipherable.

REMINISCENCES • 209
Part Two: AN INDEX
OF NETSUKE CARVERS
 An Index
of Netsuke Carvers
EXPLANATORY NOTES
NAMES: The Japan may be known by various names during
artist in

his lifetime, and can be a cause of much confusion to the student of

this
netsuke. The following list of terms used in the biographies given here
should be an aid to the understanding of the names and signatures of many
of the netsuke carvers. Other terms will be found in the index.

Azana: Nickname.
Chomei: Carved signature. The name, including inscription, that the
sculptor or carver engraves or embosses on his work.
Go: Art name or pseudonym. The artist may use and discard several
go during his lifetime.
Hanko: See in.

In or hanko: Seal. An engraved seal cut into some hard material such
as wood, ivory, stone, or metal. The in is covered with a pastelike red
ink and stamped on the document or object to be identified. As some-
times used in the biographies, in means a signature carved on the
—
netsuke in the style of an impressed seal in other words, carved in
tensho (seal character) script.
Inkoku: Seal-like characters carved on the objet d’art itself to simulate an
impressed seal.

Kaimyo: Posthumous name. A name conferred in a Buddhist ceremony

after death.
Kaisho: Printed or square style of writing characters.
Kakihan or kao: A written or carved seal as distinguished from an in or
impressed Kakihan are often added to the artist’s signature and
seal.
in this case cause no problem of identification. Kakihan standing alone
and unaccompanied by signatures, however, are almost impossible to
identify unless the artist’s kakihan is widely known or unless it is

composed of parts of, or elaborations of, the characters forming the

artist’s chomei, in which cases the application of much puzzle-solving

cleverness and much calligraphic astuteness may lead to an uncertain

identification.

EXPLANATORY NOTES • 213

 Kanji: Chinese characters used in the written Japanese language.
Kao: See kakihan.
Kundoku: Native Japanese readings of Chinese characters used in the
Japanese language.
Mei: The name, including inscription, with which the artist signs his
work. The term mei is applied to artists in general, including painters
and writers as well as sculptors, while the term chomei is limited to
sculptors and carvers.
Mosha: Facsimile signature. An exact copy of the chomei or the mei.
JVa: Given name.
Ondoku: Chinese readings, in Japanized pronunciation, of kanji used in
the Japanese language.
Raku-in: Similar to a.yaki-in. The seal, engraved in copper, is heated and
burned into the object as a brand.
Sosho: “Running hand” or cursive style of writing characters.
Tensho: Style of writing used for impressed seal characters.
Tsusho: Popular name or “calling” name.
Uji: Family name or surname.
Tago: Shop name. The name by which many shopkeepers were known,
particularly among the tradesmen (chonin) of pre-Meiji days, who
were not permitted to use uji or family names. The custom persists
even today. Such names always end in the suffix ya.
Yaki-in: Brand or heated seal. Usually found on porcelain or pottery
netsuke.
Yomyo: Infant or childhood name.

DATES: Specific dates are given whenever they are known. In other
cases the artist may be dated by the period or era with which he is most
associated and for which corresponding Western dates are inserted in
parentheses. In those cases where it is impossible to give either specific dates
or eras, the artist is classified as early, middle, or late. As stated in Chapter
13, the early period covers the years from the birth of the netsuke through
Kansei (1800); the middle period, the sixty-eight years from Kyowa
(1801) until the beginning of Meiji (1868) and the late period, those from
;

the beginning of Meiji to the present. Thus the dating “early middle”
—
means the early part of the middle period that is, roughly the first half
of the period between 1801 and 1868.
The following list of Japanese eras with corresponding Western dates,
should prove useful as a handy reference; other eras and periods are noted
in the index.

214 • INDEX OF NETSUKE CARVERS

 :: : .

688- 1 703 Bunka 1804-1817

Genroku 1

1704-1710 Bunsei 1818-1829

Hoei
1711-1715 Tempo 1830-1843
Shotoku
1716-1735 Koka 1844-1847
Kyoho
1736-1740 Kaei 1848-1853
Gembun
1741-1743 Ansei 1854-1859
Kampo
1744-1747 Manen 1860
Enkyo
Bunkyu 1861-1863
Kanen 1 7 48- 1750

1751-1763 Genji 1864

Horeki
Keio 1865-1867
Meiwa 1764—1771
Meiji 1868-1911
Anei 1772-1780
Taisho 1912-1925
Temmei 1781-1788
Showa 1926-present
Kansei 1789-1800
Kyowa 1801-1803

a name indicate the

MISCELLANEOUS: Roman numerals following

. «*- = M- By *.

n example, ;Baigyolcu
quite elliptical-for
Many of the biographies are ;
Kal g>°
stated, this would be
Marc T pte Tvorv Masks.” More fully principally in
the late period who
worked
was a^carve^ associated with
as a carver of mask
netsuke
ivory and is known mainly Other
additions to signatures are listed below.
The most frequent biographies.
full in the individual
scriptions are translated in
carved. Rojin: Old man.
Chokoku: Sculptured or
Saku: Made.
Gisaku: Acopy.
Produced.
Seisaku:
Koku: Carved.
Sha: Copied.
Makie: Gold lacquerer.
So Old man.
Monjin: Pupil of. the world (lit-
Tenka-ichi: Best in
J\fi mosu: Imitated
(from).
erally “first under heaven”)-
Oju: By request (of). knife.
To Knife-cut or cut with a
Okina: Old man.
Tsukuru Made.
Oko: To please the taste of.

explanatory notes • 215

 1. ANRAKU 2. BAIGEN 3. BAZAN

ke despite his struggles with finan-

-A-
cial difficulties. Never made two
1. AdachiTomoshichi^^^'t;. netsuke of the same design. Created
Go: Masanobu jEfff. See Masano- several original mask designs for
bu (B 616). ceramist Sekisen Shimizu (B 947).
Died about 1897 at the age of 64.
2. Anraku Middle. Ivory.^ ^§. See Fig. 125. See mosha (No. 3).
Human figures and animals. See
Fig. 55. See mosha (No. 1). 11. Beisai If. Uji Ogawa Jl|.

JVa Ryobei
:
^jz. Late. Horn.
3. Anraku sai $^ . Chomei: Ko-
Lived on Itsuku Island. A netsuke
gyoku 3E- Go: Anrakusai |f
jfc
of his is signed as follows: “On Itsu-
See Kogyoku (B 511).
ku Island I trapped a deer and cut
off its horns. Beisai, 65 years old,
B- carved. +E
4. Baigen Late. Nara dolls.
See mosha (No. 2). 12. Bisho f| Chomei: BishoU
5. Baigyoku Early middle. Wood.
EE. Late. Ivory.
Masks. 13. Bokugyoku f J. Middle.
Chestnut wood (kurinoki).
6 . Baihosai ^^ Early. Wood.
14. Bokugyuken flfc 4 1
$f. Chomei:
7. Banryusai fi Early.
Toshiharu flj See Toshiharu (B
Ivory.
1233).
8 . Basui ^ Tfc- Late. Wood. 15. Bokuji ('ll. Some netsuke are
9. Batoraku ^ Middle. found that bear his signature.

10. Bazan ^ J4
1
. Chomei: Bazan 16. Bokuko H $j. Uji: Ando ^ H.
^ tL| ,
usually in embossed charac- Born in Gifu. His father was asso-
ters. Born in Tempo (1830-1843) ciated with Tessai Kano (B 1173).
in the district of Motosu, Gifu. Bokuko lived with in TokyoKano
Carved realistic netsuke of excellent and studied his methods. Was a
quality in wood. Went to Tokyo in proficient carver and developed a
his middle years but returned to fresh and original style. Created a
Gifu disillusioned with the haste technique similar to tsuishu carv-
and cheapness of netsuke carving ings. Was also an expert appraiser
in Tokyo. Continued carving netsu- of art objects.

216 • INDEX OF NETSUKE CARVERS

 4. BOKUZAN 5. BUNSHOJO

17. Bokusai H Ijf. Early middle. years old. Was the eldest daugh-
Wood. Human figures and sennin. ter of Tomiharu (B 1191), the first

Lived in both Kyoto and Tokyo. Iwao Seiyodo, whom she succeeded
His work was fine and sensitive. as Iwao II. Bunshojo equaled her
father as a netsuke artist. Was also
18. Bokusai Middle. Mostly
an accomplished haiku poet. Drank
wood.
a great deal of sake and remained
19. Bokuzan f dj. Chomei: Boku- single all her life. Taught carving
zan b U-I, in raised characters. to Shikazo, the son of her younger
Middle. Wood. Shells and animals. sister Yachiyo. Died in 1838 at the
Lived in Nagoya. See mosha (No. age of 75. She left beautiful boar-
4 ). tusk netsuke carved with spiders.

Bokuzan See Fig. 135. See mosha (No. 5).

20. [U- Middle. Wood.
Carved in the style of Hokusai draw- 29. Bunsui Uji: Takahashi
ings.
Na: Kichinosuke
21. Bumpo ~X Tempo. Mainly Born in 1819. Cabinetmaker and
wood. wood carver. Lived in Kyoto and
later in Tokyo.
22. Bumpo ^Cilifr. Late. Ivory.

23. Bun Early.

-C-
24. Bunga Jc 3f|. Middle.
30. Chikamasa || IE. Go: Shomin-
25. Bungyo^C^. Middle. Lived in sai ^ Js; Bunsei (1818-1829).
Tokyo. Son of a juggler. Entered the school
of Hiraga Gennai where
26. Bunryusai |f. Late. Ivo-
he studied carving under the strict
ry.
discipline imposed by his master.
27. Bunsai ~X If- Called himself Later carved netsuke exclusively.
Tani (^). See Fig. 119. Enjoyed a reputation as a fine ivory
carver.
28. Bunshojo %M
it* Uji: Shimi-
zu Na: Onoe (D H
Go:
31.Chikanobu $ fg. Middle.
Bunshojo ~X it or Iwao Seiyodo Wood.
MW ^ Wj Chomei: Seiyodo Bunshojo
•

chokoku Born 32. Chikashige ^ Ig. See Ryuho

in 1764 when her father was 32 (B 779).
 6 . CHIKUJU 7. CHIKUSAI

33. Chikayuki Uji: Fuku- Only seldom did he make netsuke.

shima jjfg H. Tsusho: Yasusaburo
37. Chikuju ft#. Late. Nara
^H £|$. Go: Suginoya ;£ #. # dolls. See mosha (No. 6).
Meiji (1868-1911). Was the third
son of Rinshun Hanadokoro. Lived 38. Chikusai ft if. See Kiyu (B
in Asakusa, Tokyo. Carved Noh 498).
dolls which he called Asakusa dolls. 39. Chikusai ft if. Early. Wood.
His work is excellent but rarely Human beings and animals. See
found. It is said that he made an mosha (No. 7).
incense box (kogo) in the shape of
a crane, on the outer box of which 40. Chikusai ftff. Meiji-Taisho
he wrote: “Chikayuki, maker of (1868-1925). Resided at Hama-
dera. Good at carving beauties.
Asakusa dolls & £ Jfr iL it-” A H Died in early Taisho (1912-1925).
On the kogo itself he affixed his seal,
which reads: Asakusa. Died on July 41. Chikusen ft fill- Early Meiji
9, 1883, at the age of 46. (1868-1911). Lived in Tsu. Good
34. Chikko Late. Wood. at drawing and poetry. Excelled at
ft
Masks and other subjects. carving landscapes and floral dec-
orations of superior quality on
35. Chikko ft fr- Uji: Takehara
writing brushes, yatate, poetry
ft j^. Lives in Higashi-ku, Osaka.
cards, and other things. Was com-
During youth studied as a pupil
his
missioned by the Tsu clan to do this
of Kaigyokusai (B 430) Later .

type of work. His netsuke are rarely

worked independently. Proficient
found but are usually carved from
in wood carving. Is alive today
bamboo roots and nuts and repre-
and carves tirelessly.
sent landscapes and the “four
36. Chikko ft Uji: Kusakawa gentlemen” (shikunshi) that is, the —
Na: Seishichi
3|lJI|. -b. Chomei: ^ orchid, the chrysanthemum, the
Chikko ft^f. Early Meiji ( 1 868— plum, and the bamboo.
1911). Resided in Tsu. Was the star
pupil of Chikusen Imanaka (B 42. Chiku-unsai ft J!| ]|f . Early
41).
Carved decorations on various types middle. Ivory. Human figures. See
Fig. 158.
of receptacles. His work had a spe-
cial refinement and won him wide 43. Chiku-unsai ff f| |f . Uji:
acclaim. Very few carvers today can Tanabe Na: Tsuneo
emulate the quality of his work. Late. Lived in Sakai. Carved

218 • INDEX OF NETSUKE CARV RS

 8 CHOKUSAI

mainly bamboo fittings and vases 55. Chokusai gif. Uji: Miyagi
for flower arrangements. Also made ^ Na: Masanosuke gjj.

netsuke. Born in Osaka in 1877. Because of

Chokusai’s poor health as a child,
44. Chikuyosai ft |i§ Chomei:
his father decided that he should
Tomochika See Tomochika
not succeed to his construction
(B 1195).
business but arranged for him to

45. Chikuyuken tt ^ See study carving as a pupil of Isseisai

Shunsai (B 1070). Naomitsu (B 751). Chokusai was

sixteen when he became a pupil of
46. Chingendo 7c 's’. Chomei: Naomitsu and studied with him for
Hidemasa See Hidemasa (B four years. Carved in both wood
212 ). and ivory, which he never colored.
Devoted himself almost exclusively
47. Chinkin ^ 35- Middle. Ivory.
to netsuke carving. Kosen Nishi-
48. Chisoku Some netsuke moto (B 545) of Osaka and Okada
bearing his signature are found. Naoaki |S] P9 Wi were both pupils
of Chokusai. See Figs. 134 and 177.
49. Cho p. Early. Wood. Masks.
Usually identified himself with a See mosha (No. 8 ).

kakihan. Wood.
56. Chosen Early.

50. Chodo Early. Wood. Animals.

Masks. Signed with a kakihan.
57.Chounsai H See Gyoku-
51. Chogetsu $$ /] . Uji: Yamada min (B 150).
[U EH-Na: Shosetsu IE^- Go: Shun-
58. Chounsai See Hide-
kosai Born in 1826; died in
chika (B 206).
1892.

52. Chohei ^ . Early. Wood. 59. Chounsai Chomei:

Jugyoku H3£. See Jugyoku (B
53. Chokichi Uji: Miya- 407).
shiro Middle to late. The
fifth generation Chokichi lived in 60. Chounsai See Seimin
Kanda, Tokyo. (B 925).

54.Chokosai Early. 61. Choyo Ivory. Fish and

Wood. Human figures and horses. turtles.

CHIKAYUKI — CHOYO •
219
 9. CHUICHI 10. DEME SAMAN

62.Chuichi Taisho (1912—

.
70. Deme Josei Was
ft g Jtft.
1925).Born in Osaka. Excelled at a pupil of Deme Uman (B 77).
carving turtles in wood. Made Carved only mask netsuke.
netsuke for export. Died in Man-
churia in the latter part of Taisho.
71. Deme Juman ft

See mosha (No. 9).

Early. Mask netsuke. Son of Eiman
(B 67).
63. Chuzan [i[. Late. Ivory.
72. Deme Kunimitsu ft g m
Some mask netsuke bear his signa-
-D- ture.

64. Daisen Made cast-metal 73. Deme Mitsuhide ft f=J

netsuke. See Fig. 23. Uji: Fujiwara HDfC. Early. Mask

65. Dembei Tago: Taha- netsuke.
raya Prior to Temmei 74. Deme Mitsuhisa
(1781-1788). Lived in Osaka. Was
ft g MfK-
Early. Mask netsuke.
a pupil of Kanjuro (B 447). Carved
in wood and ivory. 75. Deme Saman ft @
Carved mask netsuke. Called him-
66. Deme Dohaku ft § ?|wj £3 .
self Saman in contrast with Uman
Born in Tokyo. Carved mask ne-
(sa: left; u: right; man: 10,000 or
tsuke.
completeness). Sometimes carved
67. Deme Eiman ft g $g. “tenka-ichi” ^ T — with his signa-
Died in 1705. Although a mere ture. However, his work is quite
pupil of Deme Mitsunaga ft g -g. % inferior to that of Uman (B 77). See
he was nevertheless the originator mosha (No. 10).
of the mask netsuke.
76. Deme
Taiman ft g
68. Deme Jokyu ft g 4 !K> Early. There are wood masks rep-
Early. Some netsuke bearing his resenting Okina that bear his
signature are found. signature.

69. Deme Joman ft g ± Was 77. Deme Uman gft JVa:

a younger brother of Deme Juman Jirodayu Anei ( 1 772—
(B 71). Carved mask netsuke. 1780). Lived in Tokyo. Was a
There is some opinion that he was family pupil of the Deme mask
the son of Deme Uman (B 77). See carvers. Was the son of Juman (B
Fig. 41. 7 and the grandson of Eiman (B
1 )

220 • INDEX OF NETSUKE CARV RS

 £) SC
r J

l
;>£ 15.
vSl *lL

DEME UMAN 12. DEME YOSHINARI 13. DOSEN 14. DOSHO

67) of the main family. Carved 87. Dosei Ui/irfc. Some netsuke
netsuke as a hobby and made bearing his signature are in exist-
elegant mask netsuke. Often carved ence.
his signature followed by “tenka-
88. Dosen Hi fill. Probably early
ichi.” See mosha (No. 11). late. Made delicate carvings of

Deme Yoshinari butterfliesin inlaid wood. Signed

78. fij g
Chomei: Deme
Yoshinari saku $ g by cutting his signature on an ivory
Most probably late. plaque which he inlaid in the carv-
ing. See mosha (No. 13).
Carved mask netsuke. See mosha
(No. 12). 89. Dosho Hl^:. Uji: Kagei jp:#.
Na: Juzaemon Go: Ko-
79. Deme Zekan g Ear-
ly.
fcti

Carved masks and mask netsuke.

kusai ^ Chomei: Dosho jig %
or Dosho in Hl^cRJ- Born in 1828
80. Denko pg Tempo (1830- in Izumo but moved to Osaka. Died
1843). Mostly wood. in 1884. Was taught ivory carving
by Anrakusai Doraku (B 85). Also
81. Dohachi Hi A* A famous carved in wood, bamboo, turtle
ceramist of Kyoto who also made shell, horn, and precious stone.
porcelain netsuke.
Sometimes carved his mei on an
82. Donraku Early. Wood. inlaid plaque. See Figs. 1 07 and 216.

Animals and masks. See mosha (No. 14).

83. Donrin jk^. Temmei (1781 —

90. Doshosai Hi % Tempo
1788). Wood. Human figures.
through Keio (1830-1867). Worked
Work is sensitive and refined.
in ivory and in Shibayama style
inlay. May be the same individual
84. Donshu Early. Carved as Dosho (B 89).
mask netsuke in both rough and
delicate techniques. 91. Dotei Hi^. Middle. Wood.

85. Doraku Hf^l- Middle. Excel- 92. Dozan Hi 0-1* Chomei: Dozan
led in ivory carving. Born in Ono- 3104. Tempo (1830-1843). Wood.
michi but lived in Osaka. See Figs.
53 and 181. -E-
86. Dorakusai Hi 1^1 If • See Do- 93. Eigyoku yk 3£. Middle. Wood.
raku (B 85). Proficient at carving netsuke.

CHUICHI EIGYOKU *
221
 b

15. EIRAKU
16. FUSHO

94. Ei-ichi Jg— Late.

.
105. Fukai Early. Worked
95.Eijuken Early middle. in ivory and metal.
If
Wood. Carved many masks. 106. Fusayuki ^ Late.
96. Eijun ^ f$. Uji: Nozawa if f§. 107. Fusho J&#. Chomei:
Did inlay work. Fusho
M#. Tempo through Keio (1830-
97. Einen Middle. Wood. 1867). Mostly wood. Good at
98. Eiraku carving dragons. There is one of
Chomei Rakkan his
Eiraku netsuke signed: “Fusho,
in femikMEV or Kahin- 71 years
shiryu in Was a fa-
old M
#*; -&.” See mosha
+
mous ceramist of Kyoto, with a (No. 16).
reputation maintained through
several generations of his family. -G-
See mosha (No. 15).
108. Gado Uji: Naniwa $$
99. Eirakusai if. Chomei: JVa: Shikazo Chomei: Gado
Tomotada See Tomotada or sometimes Furueda
(B 1216). in ^
^ffl. Born in Takamatsu in 1888.
100. Eisai Graduated from
7*if. Uji; Teramoto the Kanagawa
JVa: Motojiro 7c ^ g|5. Late. Prefectural Arts and Crafts School
101. Eisai establishedin Takamatsu. Em-
Matsushima £7/7;
ployed by the Yamaha Musical
& ,§?. Ah: Masashichi^-L. Middle.
Instrument Manufacturing Com-
102. Ekisei ^ jgfir. JVa: Senzo {[ij jg. pany. Removed to Osaka in 1913.
Go: Kiryosai Early middle. Carved in wood and in bamboo,
Followed the technique of his which he sometimes colored. Made
grandfather, Senzo Shibayama (B many
V
tea-ceremony articles and
954).
occasionally netsuke.
103. Ekishin J^ff. Some netsuke 109. Gambun flg £. Middle.
bearing his signature are found.
Lived in Kyoto and also Tokyo.
Did excellent work in metal as well
-F- as in wood and ivory.

104. Fuboku Early. Wood 110# Garaku §£§. Middle. Wood.

“d 0ry - Human %ures and 111. Garaku ft*. A Zana: Risuke
J,I
Chomei: Garaku Anei
222 • INDEX OF NETSUKE CARVERS
 17. GASHO

(1772-1780). Lived in Osaka. Was coral, or metal, and in combina-

a pupil of Taharaya Dembei (B tions of these materials.
65). Carved deer, turtles, and other
123. Gessen ft Tempo ( 1 830—
animals in ivory.
1843). Wood. Figures.
112. Gasho Uji: Taguchi
124. Getchu ft j&. Early. Wood.
HP. Chomei: Gasho Late.
Ivory. Probably a pupil of Dosho 125. Godo Early. Ivory and
(B 89). See mosha (No. 17). freestones.

113. Gechu Prior to Tem- 126. Gorvu 2f|. Early. Ivory.

mei (1781-1788). Some netsuke Human figures.
bearing his signature are found.
127. Goto Seijiro
See Fig. 180.
Middle. Metal artist of the Goto
114. Gekko ft Early to middle. school.
Wood. Animals.
128. Goto Yataro
115. Gemmin £ J£. Middle. Ivory Go: Yoshiaki Meiji ( 1 868—
and bone. 1911). Traveled extensively, re-

turning to Tokyo in early Meiji,

116. Gengensai jt Hf. Middle.
Wood. Animals of the zodiac.
when he devoted himself to carv-
ing.
117. Gen -i chi 7c—. Chomei: Gen-
129. Gunsai There are a
ichi 5t; — • Bunsei (1818-1829).
his name.
few netsuke signed with
Wood.
130. Gyokkei 3££i. Temmei and
118. Genko ^ jfc. Middle. Ivory.
Kansei (1781-1800). Wood.
Many owl netsuke.
Carved human figures, animals,
119. Genkosai ;£ H |f. Uji: Mo- and insects. See Fig. 140.
rino Late. Wood.
131. Gyokkei 3£ Chomei: Gyok-
120. Genryosai 7c ^ |f. Middle. kei Temmei and Kansei
(1781-1800). Wood. Noh masks.
121. Genryosai T If. See Min-
koku (B 667). 132. Gyokken y. Late.

122. Gensai Chomei: Gensai 133. Gyokkin 3£^. Go: Chikurin

7C If. Middle. Carved netsuke rep- and Gyokkin Na: Sei-
resenting vegetables in ivory, jiro Chomei: Gyokkin HE-ijL

EI-ICHI GYOKKIN 223

 H>
4

x
it'll

18. GYOKKIN 19. GYOKKO 20. GYOKKOSAI 21. GYOKUHOSAI

Worked in the kitchen of the Iida and masks. See mosha (No. 19).
family. Went to Kyoto and Nara,
135. Gyokko Early. Wood.
where he associated with priest
Hakuho and Toen Morikawa (B 136. Gyokkosai See
1177). Removed to Osaka, where Gyokko (B 134). See mosha (No.
he became acquainted with Ume- 20 ).
moto Kotetsu and Zui- 137. Gyokubun 5 jt- Late. Ivory.
sho Hotta (B 1342), finally under- Specialized in carving Hotei.
standing the techniques of carving.
138. Gyokuchin Early.
Made elegant bamboo carvings
and tea-ceremony articles. Always
Wood. Mostly human figures.

drank sake to excess and was full 139. Gyokugasai J See

of eccentricities. openhearted Was Ryusa (B 871).
and unaffected by wealth and hon-
ors. Managed his personal finances
140. Gyokugyokusai
Late. Carved in horn.
very badly, causing many difficul-
ties, to which he was indifferent. 141. Gyokuho Middle.
Enjoyed sitting in bamboo groves Ivory and horn.
and playing the gekkin (moon 142. Gyokuho Uji Yamada
3E
guitar). Spent his declining years
Gyokuho
[ll pb Chomei: 3EHf-
in the same carefree manner. Died Carved during the first half of Mei-
at the foot of Senririkyo Bridge in
ii. Studied under Ryuchin (B 843).

Osaka in 1880 at the age of 64.

Cremated at the Hofuku-ji. His son 143. Gyokuhosai 5^^. This
Kotaro used the go Kinden
jfjfe j!|5
artist isalmost certainly the same
•ip EB or Dorin 4^ and attempted
JfsJ
individual as Gyokuho (B 142).
to assume his father’s mantle but
144. Gyokuhosai 3E5fHf- See
lacked the necessary ability. See
Rvuchin (B 843). See mosha (No.
mosha (No. 18).
21 ).

134. Gyokko Go: Gvokkosai 145. Gyokuji 3E#^. Prior to Tem-

3E Ilf* Chomei: Gyokko 3E 3^* mei (1781-1788). Lived in Kyoto.
Tempo through Keio (1830-1867).
146. Gyokujitsu 3EHf. Late. Ivo-
Ivory and wood. Was extremely
ry.
proficient at carving netsuke rep-
resenting human beings, animals, 147. Gyokuju 3£ f|p. Late. Wood.

224 • INDEX OF NETSUKE CARVERS

 It X' £•

^ if i! /^r>
x:

22. GYOKURINTEI 23. GYOKUSAI 24. GYOKUSO 25. GYOKU-UN

148. Gyokumin 3£l£. Middle. It 158. Gyokushi 3££. Middle.

is not certain whether this carver Ivory. Dragons and oni.
is the same man as Gyokumin (B
149). See Fig. 178.
159. Gyokushinsai Jgf. Mid-
dle. Horn.
149. Gyokumin 3£ jg. May be 160. Gyokuso Uji: Ouchi
the same artist as Gyokumin (B Na: Jiemon Cho-
148). mei: Gyokuso Born in 1879,
the same year as Soko (B 1101).
150. Gyokumin Jig. Go: Cho-
unsai Born 1859, the eldest Studied under Joso (B 400) for
son of Masamitsu Kikugawa (B about 18 months before carving
independently. Later studied ne-
484).
tsuke in daily meetings with Soko
151. Gyokurintei or from 1920 work was
to 1934. His
Gyokurin 3£Jfc. Carved animals exhibited at theJapan Art Associa-
and masks in wood. See mosha tion, the Tokyo Arts and Crafts
(No. 22). Exhibition, and the Association for
the Propagation of Ivory Carving.
152. Gyokuryu HEfff. Middle.
He received prizes on numerous
153. Gyokuryusai See occasions. He exhibited only ne-
Gyokuryu (B 152). tsuke. Gyokuso presently lives in

Nerima-ku, Tokyo. See Figs. 77,

154. Gyokusai 3£|ff. Chomei:
148, 153, and 211. See mosha (No.
Gyokusai 3£ . Middle. Wood and
24).
ivory. Mainly human figures.
Carved many balancing figures that 161. Gyokutei 3E^. Middle.
stand on one foot. Quite famous. Wood. Sennin and other figures.

See mosha (No. 23).

162. Gyoku-un H or Gyoku-
155. Gyokusai Early mid- unsai HEillff. Early. Wood and
dle. Wood. Human figures and ivory. See mosha (No. 25).

animals. See Fig. 141. 163. Gyokuyosai Mitsuhina 3£

infant- Chomei: Gyokuyosai 3£

156. Gyokusen 3EJI|. Middle.
Wood and Hf§!f. Lived from Temmei until
ivory.
Meiji (1781-1868). Carved netsuke
157. Gyokusen or Gyoku- of figures, dragons, and other sub-
sensai Early. Wood. jects. Lived in Asakusa, Tokyo.

GYOKKO GYOKUYOSAI •
225
 •a*

J
A w

26. GYOKUZAN 27. GYOKUZAN

Was the teacher of Kokusai Ozaki other ancient art, becoming an

(B 527). See Fig. 147. expert in inlay techniques. Acted
as a member of the examining com-
164. Gyokuzan 3£[1|. Uji: Asahi mittee for the fourth and fifth ex-

jig,. Na: Tomimaru 3l %, but later hibitions (1895 and 1903) respec-
changed to Tomisaburo || H £[$. tively. Died on August 10, 1923,
Chomei: Gyokuzan jjj, Kyusho at the age of 79. See Fig. 19.

jig, or Kyugyokuzan saku jig,

165. Gyokuzan Go: Isshin-
3£iJLi.
ill {^. Born in Asakusa, Tokyo in sai— >i>|f. Chomei: Isshinsai Gyo-
1843. Ordained a priest but, liking kuzan — Late. Ivory.
the carver’s art, devoted himself Daruma was his favorite subject.
exclusively to ivory carving from
See mosha (No. 26).
the age of 24. Carved frogs, snakes,
crabs, monkeys, and other animals 166. Gyokuzan EElil- Wood.
but was especially proficient at
Carved human figures, animals,
fish, and masks. See mosha (No. 27).
carving skull netsuke. Considered
an expert on the subject of ivory 167. Gyuka 4^^ P- Uji: Kamiba-
carving during Meiji. Was an in- yashi _E$c. Na: Keimei Go:
fluential member of the Associa- Rakushiken Chomei: kaki-
tion of Tokyo Sculptors. Was a han or Born in December
yaki-in.
professor at the Tokyo Art School. 1801 near Castle, Mino.
Iwamura
Refused to accept an inferior posi- Entered the monastery of Mitsu-ji
tion offered him on the Imperial and became a priest. In 1819,
Art Committee. His style was he served the family of one of
quite realistic. The excellence of the imperial princes as a priest.
his work was a source of wonder Later resigned from the priesthood
both to our own people and to for- in order to study the paintings of
eigners. He won many prizes and the Maruyama school. Did well as
awards, including the first prize a painter. Adopted the go of Seisen
for a carving of a skull exhibited in and the pseudonym of Shiho
1881. One of Gyokuzan ’s prizes In 1827 adopted by Kami-
was awarded to him by His Im- bayashi of Uji, a famous tea master,
perial Highness Prince Norihisa in since his family had no heir. The
the presence of Emperor Meiji. shogun approved his succession to
Later moved to Kyoto and studied the household of the tea master,
the collections of the Shoso-in and and he thereupon changed his

226 • INDEX OF NETSUKE CARVERS

 A
Si

28. GYUKA 29. HACHIGYOKU 30 . HAKO

name to Gyuka. In 1843, Tsumura, instead of theTokugawa shogunate.

the Lord of Ise and magistrate of See Fig. 61. See mosha (No. 28).
Kyoto, requested Gyuka to carve
a souvenir of Uji for presentation
-H-
to the shogun. Gyuka carved from
seasoned tea wood a doll netsuke 168. Hachichiku A ft- Chomei:
representing a woman tea picker Hachichiku Aft- Late. Wood.
and presented it to the shogun. Carved some fine netsuke of wolves.
Several daimyo found the carving 169. Hachigaku Bunka
A-fSr-
appealing and requested Gyuka Wood and ivory. Ex-
(1804-1817).
to reproduce the same subject celled at carving figures.
for them. The second-generation
Gyuka carved many of these dolls, 170. Hachigyoku A Chomei:

and gradually they became known Hachigyoku A3L Early. Born in

as Uji dolls. In 1859, Gyuka relin-
Tokyo. Was a mask carver. Made
quished the carving of Uji dolls to netsuke as a hobby. See mosha (No.

his successor and removed to Uji, 29).

where he died in 1870 at the age of 171. Hako Na: Tomiharu

70. His son succeeded him as the 'll Hako is a go accepted in his
second generation and was called youth by Shunyodo Tomiharu (B
Kyusen Rakushiken (B 578). Gyu- 1191). There is a cicada netsuke
ka signed with a kakihan or a carved from black persimmon wood
brand. Since Gyuka was the seventh and signed: “Carved by Sekiyo
or eighth generation of Kanamori Hako Seiyodo ft §§ #£ HI W ^
Sowa ^ 7K fn an d since Sowa H;.” probably made this netsuke
He
had already originated the Uji doll, while residing in Hane-etsu. See
it is more accurate to say that mosha (No. 30).
Gyuka revived this netsuke form.
Hakudo Middle.
172. £ if.
However, Gyuka’s work is much Wood. Mask netsuke.
superior to Sowa’s by the addition
173. Hakudosai ^ Wood. .
of a pictorial quality.
Gyuka was an enthusiastic ad-
Mask netsuke. Most probably the
herent of the emperor system and
same artist as Hakudo (B 172).
exerted his influence to restrict the 174. Hakuei £ ^ or Hakueisai
use of the tea grown in the Uji Middle. Ivory. Mostly
district to the Imperial Household figures.

GYOKUZAN HAKUEI •
227
31. HAKUMO 32. HAKURYU 33. HAKUZAN 34. HARUMITSU

175. Hakugyoku £3 3L Middle. saka (B 181). See mosha (No. 32).

Wood.
183. Hakusai £3 |ff. Middle.
176. Hakuko C %£. Middle. Wood.
Wood.
184. Hakusen £3 {[ij. Late. Wood.
177. Hakumin \C 3g. Go: Isshosai 185. Hakushin f Middle.
{£
— Hif. Uji: Sekine f|| Na:
Ivory.
f .

Shimbei $fbcllr- Middle. Lived in

Tokyo. Was a pupil of Isshinsai 186. Haku-un Cl ff . Chomei: Ha-
Yoshiyuki (B 1318). ku-un ^ ft. Middle. Ivory. Fine
carver.
178. Hakumo Chomei: Ha-
kumo Late. Ivory and seeds. 187. Haku-unsai £3 g |ff . Cho-
See mosha (No. 3\). mei: Haku-unsai Cl If* Worked M
between Tempo and Meiji (1843-
179. Hakuo £3 Tempo (1830-
1868). Lived in Kanda, Tokyo.
1843). Excelled at carving manju Named Ichijo — Was a skill-
netsuke.
ful carver.His son Kitaro
180. Hakuosai Cl'm 7M- Same succeeded him.
carver as Hakuo (B 179).
188. Haku-unsha Same
181. Hakuryu £3 f|. Uji: Miya- carver as Haku-unsai (B 187).
saka 'gig. Go: Shoundo ^gfjg’.
189. Hakuzan Cl lb- Late. Excel-
Chomei: Hakuryu £3 f|. Ansei
lent carver. Often carved frogs on
(1854-1859). Lived in the Gion
lotus leaves in horn. Usually cut
section of Kyoto. Best known for
his signature on an ivory-inlaid
his ivory netsuke. Usually carved
plaque. See mosha (No. 33).
animals. His work was as highly
regarded as the figure netsuke of 190. Hanryu [¥£ $\l . Middle. Wood.
Rantei (B 812). Haritsu See Ritsuo
191. $£§£.
182. Hakuryu Q fg. Chomei: Ha- (B 826).
kuryu saku £3 fl f^. A pair of
192. Haruchika #JrJ. Lived be-
colored wood netsuke representing
fore Temmei (1781-1788).
the happy old couple of Takasa-
go are in existence. These legend- 193. Harukazu ^— . Chomei:
ary figures may have been carved- Harukazu ^— . Tempo ( 1
830—
for amusement by Hakuryu Miya- 1843). Mostly ivory.

228 • INDEX OF NETSUKE CARVERS

 &
^ /R.

i $
<*>

35. HASHI-ICHI 36. HIDARI-ISSAN 37. HIDE

194. Harumitsu ^ Chomei:

jfc. 201. Heishiro 23 £[$. Lived in
Harumitsu ^ Jt- Early late. Wood. Osaka before Temmei (1781-1788).
Good at carving the animals of the Was a carver of friezes. Excelled at
zodiac and others. Lived at Yama- carving flowers and leaves, which
da, Ise. Learned carving from accounts for his family name, Ku-
Masanao II (B 613). See Fig. 156. sabana (kusa: grasses; hana: flow-
See mosha (No. 34). ers). Also carved netsuke.

195.Haruoki ^ f|. Early middle. 202. Hidari See Masamine

Wood. (B 603).

196. Harushige ^ Ig. Uji: Hisa- 203. Hidari Issan — flj. Cho-
matsu ;{£. JVa: Heijiro ^ 'fc £[$.
mei: Hidari Issan ^— flj . Lived
Late. Resided in Tokyo. Was a during Temmei and Kansei (1781 —
pupil of Shungetsu (B 1066). 1800) Came from
. Aizu. Called
himself Tokumitsu H %. Carved
197. Hashi-ichi m rff . Uji: Hashi-
netsuke and inro in wood, frequent-
moto ^ JVa: Ichizo ffc Cho-
ly using a turtle design. Also good
mei: Hashi-ichi $§ Born in 1817.
rff-
at carving snails. His work is pic-
Was a son of Matajiro Hashimoto,
torial and Often used an
strong.
a lacquerer of scabbards at Shiba,
Tokyo. Was an expert lacquerer.
elaborated form of toku from %
Tokumitsu as his kakihan. See
A strange man of unusual character. Fig. 128. See mosha (No. 36).
Made lacquer netsuke as a hobby.
In his old age he called himself 204. Hide ^§f. Chomei: Hide
Hashi-ichi Died in 1882. His
II. Middle. Wood. Carved in good
gravestone is found at the Chosen- taste. See mosha (No. 37).

ji, Asakusa, Tokyo. See mosha (No.

205. Hide ff. Chomei: Hide
35).
Late. Ivory. Realistic netsuke. His
198. Hassho A 5b- Early. Wood. chomei is an abbreviation. See mo-
Hermits. sha (No. 38).

206. Hidechika |§f Go: Choun-

199. Hattori Nobukazu BE* fff

Uji: Hattori Early mid-

sai J!| H . Early. Ivory. A famous
ftp. JJEt
carver. See Fig. 149.
dle. Was
a samurai in the service of
the shogun but also carved netsuke. 207. Hideharu ^ Bf . Late. Wood.
200. Heihi Early. Wood. 208. Hidehiro ^ Late. Wood.

HAKUGYOKU HIDEHIRO • 229

 *
s.

39. HIDEMASA

209. Hidekazu ^ — . Early. Wood. 222. Hikaku fg. Early. Ivory.

Figures.
210. Hidekiyo ^ Early. Wood.
223. Hiroaki gf Eft. Early. Wood.
211.Hidekuni ^ §9. Middle.
Wood. 224. Hirochika Middle.
Carved masks from nuts.
212. Hidemasa IE- Go: Chin-
gendo ^ 7C Hidemasa
Chomei:
225. Hiro-ichi g£ — . Middle.
Early middle. Wood and Wood.
3§F IE.
ivory. Lived in both Kyoto and 226. Hironobu g£ f*. Early.
Tokyo. An excellent carver. See Wood.
Figs. 150 and 165. See mosha (No.
39).
227. Hirosada Chomei: Hi-
rosada J| Early. Wood. Mainly
213. Hidemasa ^ IE. Middle. masks.
Carved nuts.
228. Hirotada J|f jjjj. Chomei: Hi-
214.Hidemitsu ^ Middle. rotada Jf J&. Middle. Ivory. Ex-
Wood. cellent carver.

215. Hidemitsu ^ %. Late. 229. Hirotoshi g£ fp. Late. Ivory.

216. Hidenobu ^ Late. Ivory. 230. Hiroyuki Jgf Early mid-

dle. Ivory.
217. Hideo $£. Late.
231. Hiseki g| . C7/V: Sawagishi
218. Hidetomo £. Middle.
Kyowa (1801-1803). From
Ivory.
Kaga. Sometimes carved in wood
219. Hidetsugu ^ #£. Early. inlaid with ivory or tortoise shell.
Ivory.
232. Hoan §£. Late. Ivory.

220. Hideyoshi ^ -j£f. Early.

233. Hoei ^ Late. Figure ne-
Wood.
tsuke of this carver are found.
221. Higo fjE Uji: Kameya
234. Hoen $j£. Chomei: Hoen
H Na: Heisuke Lived in j|fj.
££ g£. Temmei and
Kansei (1781-
Osaka prior to Temmei (1781-
1800). Wood. Chinese figures.
1788). Was a machinist and dentist.
Carved netsuke as an avocation. 235. Hoen ^ [§. Middle. Ivory.

230 • INDEX OF NETSUKE CARVERS

 it

40. HOJITSU

236. Hogen ££ tu- Early. Wood artist. His family crest consisted of
and ivory. a Chinese bellflower in a circle.
Also patronized by the Daimyo of
237. Hogetsu fj . Middle. Wood
Tsugaru. Subjects mostly figures.
and ivory.
Influenced by the paintings of
238. Hogyoku 3L Go: Ikkeisai Hanabusa Icho. His carving is

— HI Hf. Early middle. Wood, realistic, refined, graceful, pains-

ivory, and metal. taking, and elegant. Considered the

Hogyoku Excellent
best carver of Tokyo, where he
239. 3£.
carver in both wood and ivory.
resided. Used the go Meikeisai,
which was adopted from the
240. Hohaku See Shoju IX characters indicating Keiseigaku-
(B 1001). bo, the section of Tokyo where he
241. Ho-ichi ^— Ho-. Chomei: lived. Died in 1872. Buried at

ichi ^— . Uji: Sakurai |§§ #. Ah: the Renkyu-ji of the Nichiren sect
in Tokyo. See Figs. 101, 112, and
Shimbei ^ f|f. Lived in Kyoto
and also in Tokyo. Was a pupil of 182. See mosha (No. 40).

Hojitsu (B 243). Excelled in carv-

244. Hoju ^ |p. Middle. Wood
ing both wood and ivory. Made and ivory.
mask and figure netsuke. Died in
1879 at the age of 51. Buried at 245. Hokei ££ ;££. Early middle.
the Myoyo-ji in Chitosemura, a Teacher of Ryukei (B 852).
suburb of Tokyo. See Fig. 72.
246. Hokei Chomei: Hokei
Ho-in fg if*. Chomei: Ho-in
242. jcg. Kyowa through Bunsei
if. Keio (1865-1867). Mainly (1801-1829). Wood. Figures.
wood.
247. Hokeisai M If- Uji: Ma-
243. Hojitsu ^ 3§\ Uji: Yamada tsumoto Na: Toyojiro fg ^
[JLl EH. Na: Izaemon ^ p^j, but H[$. Late. Wood. Masks.
some say Iuemon ffi p>j. Go:
Meikeisai EpJ H| . Kaimyo: Zekoin
248. Hokinsai # 35; H • Uji: Su-
zuki yfc. Na: Masanao jE pH-
Myotatsu Jk if. Chomei:
Middle and late. Lived in Tokyo.
Hojitsu ora kakihan based on
Hojitsu. As Hojitsu was a vassal of
An excellent wood carver.

the shogun, he may have enjoyed 249. Hokoku JK Middle.

his lord’s sponsorship as a netsuke Wood. Figures.

HIDEKAZU HOKOKU •
231
 41. HOKUSAI 42. HOKUTEI 43. HOMIN

250. Hokufu ft JU,. Chomei: Hoku- 261. Homeisai fjf 58 If- See Ko-
fu ft M- Late. Game from Ou. Was gyoku (B 513).
a rich man. Was a pupil of Toun
262. Homin ^ Jg. Uji: Yasuda
(B 1247). Carved netsuke.
]£c Na: Haruo
IB- ^
|§. Born in

251. Hokusai ft Uji: Ishida Osaka in 1909. Graduated from

ft p3. Currently living in Tokyo. the wood-carving department of
Wood and ivory. Was a pupil of Tokyo Art School in 1932. Devoted
Mitsuaki Ishikawa (B 350). See himself to teaching wood carving
mosha (No. 41). and promoting the use of wood
to
for tea-ceremony articles. Occa-
252. Hokusui ft 7 Chomei: Ho- sionally carved netsuke. Was good
kusui ft tK- Early. Wood and ivory.
at carving figures.
Carving was very powerful.
263. Homin f£. Uji: Fukumoto
253. Hokutei ft 3^. Chomei: Ho-
$| Middle. Wood and ivory.
kutei Middle. Excelled in
ft 2^. Was a pupil of Hojitsu (B 243). See
wood carving. See mosha (No. 42). Fig. 151.

254. Hokyu See Shoju X 264. Homin ^ iEg. Chomei: Homin

(B 1002). ig or Homin and kakihan. Mid-
dle. Ivory. Figures. See mosha (No.
255. Hokyudo % Jx See Itsu-
43).
min (B 376).

256. Hokuzan Early. Wood 265. Homin fig. Ivory. May be

ft J41
-

and bamboo. the same artist as Homin (B 264).

Homan 266. Homin Jftlg. Late. Ivory.

257. $$(. Middle. Ivory.

Homan 267. Hompu -fc ft. Early. Ivory.

258. fff $|. Some netsuke
bearing his signature are in exist- 268. Horaku Middle.
ence. Wood. See Fig. 168.

259. Homei ££ Chomei: Homei 269. Horyu f|. Late. Ivory.

^ Kansei (1789-1800). Carved Hermits.
netsuke of figures and animals.
270. Hosai Uji: Oishi ft.
260. Homei §8- Uji: Kodama Go: Mitsutoshi jtW- Meiji (1868-
IE 3£. Chomei: Homei ^ §1]. Late. 1911). Studied carving with Ko-
Ivory. bayashi who worked in

232 • INDEX OF NETSUKE CARVERS

horn and ivory. Amazed the public 281. Hosui ^ tR. Chomei: Hosui
with his almost mysterious ability. & 7k. Tempo (1830-1843). Mostly
Carved a watch out of ivory com- wood.
plete in every mechanical detail.
Extremely versatile. Utilized a
282. Hotoku fg. JVa: Hotoku
variety of carving techniques. % fg. Go: Shoju |p. See Shoju

Taught many pupils, but none XIII (B 1005).

reached his stature. Died in 1900 283. Hotsueki Middle.

8$ I&.
at the age of some 70 years. Wood.
271. Hosei IE. Late. Ivory. 284. Hou ^ Chomei: Hou
Carved for export. Middle. Wood and ivory. Was a
pupil of Hojitsu (B 243).
272. Hosei . Late.

273. Hosetsu Middle.

285. Houn if. Early middle.
y? if.
Wood inlays. 286. Houn JK gf . Uji: Takahashi

274. Hoshin iff. Early middle. M ;jf. JVa: Seijiro £|$. Go: Sho-
kosai ^ Born in 1824. Was
Hf.
Ivory. Figures. See Fig. 38.
a pupil of Kokei |g, for whom ^
275. Hoshin ^ ijf . Chomei: Ho- he carved many netsuke. Carved
shin ^ yfLived in Kyoto before
. a phoenix in the clouds which so
Temmei (1781-1788). Wood and impressed his master that Kokei
ivory. Carved the palace of the gave him the go of Houn (ho:
Dragon King in a clam shell. phoenix; un: clouds). Later estab-
lished his own school at Kanda,
276. Hoshin Hi§f. Middle. Ivory.
Tokyo. The title of hogan was con-
ferred on him for his sculpturing
277. Hoshinsai ^ . Same as
Hoshin (B 274). of Buddhist images. Was engaged
for the modeling of the Five Hun-
278. Hoshinsai % yf fjf . See Rei- dred Rakan for the Kamakuraji-in.
gyoku (B 813). It is said that Houn carved the
wooden molds and Seimin
279. Hoshunsai Hf ^ . See
cast the metal. Teacher of Toun
Masayuki (B 645).
Takamura Houn was one
(B 1246).
280. Hoshunsai ^ ||f. Late of the most respected and famous
middle. Ivory. carvers of recent years.

HOKUFU HOUN •
233
 f
\
'

44. HOZAN

287. Hounsai g |f. Same man Kyoto. Made porcelain netsuke as

as Houn (B 285). a hobby.

(Hoyen: see Hoen.)

-I-
288. Hoyo J&. Uji: Ishioka
JgfJ. Was a pupil of Hojitsu (B 243). 294. Ichian — Middle. Wood.

289. Hoyusai fg Jp| . See Ishi- 295. Ichibi — §|. Middle. Wood.
kawa Komei (B 350).
296. Ichiboku — Late. Wood
290. Hozan i±i . Uji: Takahashi and ivory. Lived at Tennoji, Osaka.
^ jfHb Na: Kumakichi tjE Cho- Called himself Tajima ff| J|.
mei: Carved by 71 -year-old Hokyo
297. Ichibun — Middle. Wood.
Hozan +
Yf. Came from Tokyo.
Middle. 298. Ichidon — $£. Middle. Wood.
Was an elder brother of Houn (B
286). Was a carver of Buddhist 299. Ichieisai — If- See Komin
images which he was awarded
for (B 531).
the artist title of hokyo. According
300. Ichigensai — . Middle
to Koun Takamura (B 555), Ho-
Wood.
zan held a single hair which he tore
into two strips with his thumb and 301. Ichigyoku — 3£. Early.
index finger. He carved from a Wood.
single block of wood multiple-
armed Buddhas, each hand grasp- 302. Ichiju — Up. Carved Nara
ing a symbolic article. See Figs. 5
dolls. Was a pupil of Shoju (B

and 103. See mosha (No. 44). 993).

291. Hozan ^ Up Chomei: Hozan 303. Ichijusai — |p . See Kou

(B 553).
H Ul. Middle. Wood.

292. Hozan ^ Ul. Uji: Tanaka [5

304. Ichimin — Chomei: Ichi-
|lig.

U3 . Chomei: Hozan ^ Ul- Middle. min — [Ijg. Bunsei (1818-1829).

Wood. Figures, birds, and insects. Wood. Animals, especially the
Was a pupil of Hojitsu (B 243). animals of the zodiac.

293. Hozen Yk it- Tsusho: Eiraku 305. Ichimin — Middle.

jY Mei: Kahinshiryu in Wood. May be the same carver as
fp. Was a famous ceramist of Ichimin (B 308).

234 • INDEX OF NETSUKE CARVERS

 45. ICHIRAKU 46. ICHIYU

306. Ichimin — Middle. 315. Ichiyosai H ff . See Raku-

Wood. May be the same carver as min (B 794).
Ichimin (B 308).
316. Ichiyu — $r. Late. Did elab-
307.Ichimin — J=£. Middle. orate Shibayama-style inlay in

Wood. wood. Carved his signature Ichiyu

in a colored ivory plaque
308. Ichimin — J£. May be the which he inlaid in the netsuke. See
same Ichimin described in B 306.
mosha (No. 46).
309.Ichiminsai — gg |jf. See Ichi- 317. Ichiyusai — MW- Late.
min (B 305). Ivory.

310. Ichiraku — Late. Wood. 318. Ichiyusai —£ . Late.

Cattle. Sometimes colored with Ivory.
lacquer. Signed this work with kao
319. Ichu '|f T- Middle. Wood.
based on Ichiraku. See Fig. 111.
Masks.
311. Ichiraku — Lived in
Sakai prior to
*

Temmei(1781-
320. Ihei ^ f|f. Lived in Osaka
prior to Temmei (1781-1788).
1788). Called himself Tsuchiya
Called himself Toshimaya H M-
Botoken ih MM$1 ff. Made netsuke Made braided or woven netsuke
in the form of gourds and other ob-
similar to those of Ichiraku (B 311)
jects from woven rattan and wiste-
but using silver and copper wire
ria vines. Did not sign his work. See
instead of rattan or vines. Also
Figs. 27-28. See mosha (No. 45).
made ash-tray netsuke from woven
312. Ichiriki — fj. Chomei: Ichi- metal ribbons. Did not sign his
riki — jj. Tempo through Keio work. See Fig. 22.
(1830-1867). Carved excellent
— j|. Ikkan
321. Ikkan Chomei:
mushrooms in wood. — — fl\
- or Chofu Ikkan <jg

313. Ichirinsai — See No- Born in Nagoya. Carved figures and

|f.
bu-uji (B 776). animals. Also insects decorated
with Prunus tomentosa. The sleeping
314. Ichirobei Tfr g|5 ^ %. Uji: shojo carved during his prime and
Shibata pg. Lived in Horie, O- the rat carved in his later years
saka, before Temmei (1781-1788). reveal a divinely inspired skill.
(Ichiyeisai: see Ichieisai.) His carved okimono in cypress also

HOUNSAI IKKAN • 235

 47. IKKAN 48. IKKEI 49. IKKO

demonstrate his
(No. 47).
artistry. See mosha Hasegawa in If - g#
jl| |=|]; or
date according to the zodiac
cal-
322. Ikkansai - M #. Late.
endar, place name, and Ikko.
Kan-
Ivory. Born in Tokyo. sei (1789-1800).
Various opinions
regarding his place of origin
323. Ikkasai — ^ ff. Middle. Matsuzaka in Ise, Kyoto, and To-
as
Wood.
kyo. Carved unlacquered
figures,
324. Ikkei — g. Chomei: Ikkei — animals, and other subjects.
Also
Kansei (1789-1800). Figures made netsuke representing sedge
and animals. hats carved from bamboo
and in-
laid with stained ivory
325. Ikkei — g|. CAmmi; Seikon-
(Chinese)
or foreign
sai Ikkei
woods. An excellent
#2ffF-g|. Middle. artist. See mosha (No. 50).
Wood. Called himself Seikonsai
W ^ If. See mosha (No. 48). 334. Ikko — ft. Middle. Wood.
326. Ikkeisai — |§ jg. See Hogyo- 335. Ikkoku — Early. Ivory.
ku (B 238). Figures.

327. Ikki — ||. Early. 336. Ikkosai

-ft if. Uji: Saito
ID 18 Nn: Itaro fft ft pp. Kaimyo:
•
328. Ikko Late.
-
Ivory. Bonshaku Junsei Shinshi. Chomei:
Figures.
Ikkosai -ft if. Born in
1804.
329. Ikko — Late. Lived in Osaka. Was an associate
of Hojitsu (B 243). Made netsuke
330. Ikko — Chomei: Ikko — of fierce gods, figures, and animals.
3^.
Middle. Preferred wood but also Died in 1876 at the age of 72.
carved in ivory. A brilliant artist.
Cremated at Shinjo-ji.
Probably taught Niko (B 759). See
mosha (No. 49). 337. Ikkosai — ft^. See Toun
(B 1248).
331. Ikko — ff. Chomei: Ikko — ff.
Temmei and Kansei (1781-1800).
338. Ikkosai — ft if. See Kojitsu
(B 520).
Frequently carved oni.

332. Ikko — p. Early. Wood.

339. Ikkosai — i£if. See Ikko
(B 328).
333. Ikko — JJji: Hasegawa H 340. Ikkosai
#JI|. Chomei: Ikko — £&; ikko Ivory.
-gf. Middle.

236 •
INDEX OF NETSUKE CARVERS
 .

^ 4j *£

beH
*' n
%>
a a b

50. IKKO 51. IKKYU

341. Ikkosai — * g| |J. See Seimin Bridge, Osaka. Called himself Futa-
(B 923). ya Dembei ft &
jll %. Spe- &
cialized in two netsuke designs
(Ikkwan: see Ikkan.)
which he carved in both wood and
(Ikkwansai: see Ikkansai.) ivory.One is a standing man with
a monkey on his shoulder; the
(Ikkwasai: see Ikkasai.) other is an animal trainer asleep
342. Ikkyu — jt§.Hayashi Uji:
while a monkey steals his lunch.

Go: Ikkyu —
ft§. Chomei: Ikkyu
*
His work is unsigned.
— jy§ or Ikkyu to —
JJ. Born in 346. lotsu H Zj . Kundoku: Tame-
1914 on Cheju Island, Korea. oto. Early middle. Wood and ivory.
Called himself Sounyo ^ ^
Came to Osaka with his mother at
347. Ippachi — A- Late. Wood.
the age of 12. Entered the school of 348. Ippo — fljf. Middle. Wood.
Kyusai Hirai (B 576) as a private
student in 1926. a diligentWas
349. Ipposai — ^fjf.
Uji: Ouchi
ft. JVa: Kanzo JKj j|g. Kaimyo:
pupil. Studied carving during the
Bonshaku Gakuhojosei Shinshi.
day and attended school at night.
Born in 1829, although some say
Became independent in 1936 and
1831. Lived in Asakusa, Tokyo.
was given the go of Ikkyu by his
master. Made okimono, sash dec-
Called himself Jitsumin ^ j^. Was
a pupil of Hojitsu (B 243). Was left-
orations (obikazari), and tea uten-
handed. Died in 1895. Cremated
sils. Excelled in carving wood,
at the Ikko-in in Tokyo.
bamboo, dry lacquer, and ivory.
When Kyusai was sick with stomach 350. Ishikawa Komei Tf Jl|
cancer, Ikkyu nursed him loyally, Uji: Ishikawa ^ Jl|. Go: Juzan ff pL|.

giving his blood for transfusions. Kundoku: Mitsuaki. Born in 1852.

Upon his death, Kyusai left every- Learned carving from his master,
thing to Ikkyu. See mosha (No. 51). Masamitsu Kikugawa (B 484).
Carved pipes, flower vases, and
343. Ikkyu — Early. Wood.
ffc. okimono in ivory. His remarkable
technique won him wide acclaim
344. Ikkyu — f£. Middle. Wood
and ivory. See Fig. 175.
and finally he was recognized as the
finest ivory artist of the Meiji period.
345. Insai fp jff Prior to . Temmei Appointed a professor of the origin-
(1781-1788). Lived near Naniwa al Tokyo Art School and later rec-

IKKANSAI ISHIKAWA •
237
 52. ISSAN 53. ISSHI 54. ISSHINSAI

ommended as a member of the Im- inlay work in the Shibayama style.

perial Household Art Committee. See mosha (No. 53).
First studied painting with Kano
360. Isshin -* Middle. Wood.
Sosen gsp
^ J|| and was proficient
at it. Used the go of Hoyusai H f§ 361. Isshin — L'* Early. Wood.
If. See Fig. 167. See Fig. 184.

351. Isoji Middle. Wood. 362. Isshinsai — Chomei:

Snakes. Isshinsai —* ,|\ . Wood. Left some
fine carvings of
352. Issai — Temmei (1 781 —
(No. 54).
Choryo. See mosha
1788). Called himself Ogasawara
/J>
IK and lived in Wakayama.
* 363. Isshinsai — ,[\ See Masa-
Carved in ivory and whale tooth. nao (B 611).
Was renowned as a fine craftsman
even during his lifetime, and
364. Isshinsai ,[\ §f. — Middle.
it was Called himself Yoshiyuki
obtain examples of his
difficult to H
work. Rarely are netsuke found 365. Isshinsai — ,[\ See Gyo-
that bear his signature. See Figs. kuzan (B 165).
73, 80, and 82.
366. Isshinsai — ff Middle.
353. Issai — Early. Wood.
354. Issan — *
fij. Chomei: Issan. 367. Isshosai — 08 See Haku-
Early. Wood. Excellent carver. min (B 177).
May be the same individual known
as Hidari (left-handed) Issan. See
368. Isshosai —$ Early.
Wood.
Fig. 128. See mosha (No. 52).

355. Isseisai — gc
369. Isshu — 4N‘ Middle. Wood.
See Nao-
mitsu (B 751). 370. Isshu — Middle. Wood.
jfr.

356. Issen — Middle. Ivory. 371. Isshu — Late. Carved in

j^J.

wood and in red lacquer.

357. Issen J||. Middle. — Wood.
Called himself Ozawa
jf|.
372. Isshusai —^ . Middle.
— Wood. See Fig. 152.
358. Isshi * jfi. Late. Ivory.

359. Isshi —
Chomei: Isshi — 373. Issui — yfc. Early. Wood.
Late. Carved in ivory and did 374. Itchiku - ft- Middle. Wood.

238 • INDEX OF NETSUKE CARVERS

 55. ITTAN

384. Iwao III He* Go: Gansui tK-

375. Itcho — Jft.
Middle. Wood.
Was the son of Ogawa Yachiyo /fi

Chomei: Itsu- a younger sister of Bun-

376. Itsumin 3ft R. jl|j\ ft,
1848 at the
min Jft S- Tem P° throu § h t
5 e '°
shojo (B 28). Died in
Fig-
(1830-1867). Wood and ivory.
age of 39. See Fig. 67.
Called himseli
ures and animals. Iwao Nagami H yk Uji:
385.
Hokyudo fc !§£• Nagahama.
JL- Born
Nagami in

377. Ittan — J.. Go: Ittanfu — J. Ancestor of Fusazo Nagami,

who
± or Kyoryusai #1 % » Ctof: presently lives in the village
of Na-

Ittan J.,— Ittanfu — J. gahama. Was a pupil of Tomiharu

Meifuka Kyoryusai T ^ fi
Iff (B 1 191) -
Originated the Naga-

Was a member of the

Toba clan.
hama ningyo.
and Gifu.
Later lived in Nagoya
Was an excellent wood carver.
-J-
to carve figures and
Preferred Chomei: Ji-
carvings of 16. lisy°ku ia
animals. Noted for his
carried roku Kansei (1789-1800).
sleeping shojo. Habitually
his current work,
which he polished
M. Jikkosai #. *% Some ne-
Died about are in
with his kimono sleeve. uke bearing his signature
1877. See mosha (No. 55).

Same as It- Jingetsu M Earl Y- Woo(L

378. Ittanfu J] •
18.

tan (B 377).
B9. Ti^obei g|$ £ Llved m
379. Ittei — Early. Wood. )saka before Temmei
(1781-1788).
cr^hhards of horn. Also
Itten — !£• Middle.
380.
Wood.
carved netsuke.
Kakujuken See Raku-
381. Itto * Go:
390. Jitokusai g # '?! -

Uji: Na: Benkichi

Ono
pff. /fi
min (B 795).
Born in Kyoto but studied See Ipposai
in Nagasaki. Died
sculpturing
in 391. Jitsumin * R.
(B 349).
1870 at the age of 74.
Earl >’ nlid '
382. Iwao I See Tomiharu (B 392. Jiyosai M ^ *•
die.
1191).

383. Iwao II &. See Bunshojo (B 393. Jobun is % Early. Wood.

Figures, animals, and masks.
28).
ISOJI — JOBUN • 239
 56. JOSETSU

394. Joko _h Late. Ivory and acted as examiner. Received several

tusk. honored
prizes for his works. Also
and patronized by the Imperial
395. Joryu #p #P- Chomei: Joryu
Household. Joso worked with Koun
#0 #P- Temmei and Kansei (1781 —
(B 555), Kyuichi (B 575), and
1800). Wood and ivory. Excelled
Mitsuaki (B 350) in 1888 in carving
in carving figures in netsuke. See
the ramma (transom decoration or
Fig. 154.
frieze) in a bat design for the Im-
396. Joryu f|. Early. Ivory.
perial Library. Also interested in
literature as the result of the in-
397. Josensai ^ Jl| |f. Middle.
fluence of his relative, the aged
Wood. Otsuki Nyoden. Joso wrote some
398. Josetsu ff. Chomei: Josetsu
excellent comic poetry and witty
Lived after Kaei (1848- verse. Died in 1910 at the age of

1853). Ivory. Good at staining 56. Cremated at Kano-in in Shita-

ivory. See mosha (No. 56). ya,Tokyo. Trained some fine pupils
such as Soya (B 1115), Soko (B
399. Joshu _h^. Go: Shunchiku-
1101), Gyokuso (B 160), and others.
do # t4 Chomei: Joshu _L See Fig. 115.
Tempo through Keio (1830—1867).
Ivory. 401. Joso Chomei: Joso th-
Late. Pupil of Ikkosai (B 336).
400. Joso Uji: Miyazaki 'fjr
lft§.Na: Seitaro Kaimyo: 402. Josui 7k- Middle. Wood.
-fc ji[5.

Shakufugaku Senshu Shinshi. Cho- 403. Jozan fij. Late. Wood.

mei: Joso $jg. Born in Tokyo in

1855. Apprenticed to Kojitsu (B

404. Jozan ill- Chomei: Jozan ^
fij. Ansei (1854-1859). Mostly
520), the netsuke artist, at the age
of 14. Won his independence at
wood.
the age of 25. Took up residence 405. Ju Up. Late. Ivory.
at Asakusa, Tokyo. Excelled at
406. Jubi H; Uji: Hasegawa
carving small objects, including
J||. Gold lacquer netsuke bear-
netsuke and pipes. His artistry was
ing his signature are in existence.
of a high order. Was a member of
the Japan Art Association and one 407. Jugyoku Go: Chounsai
3£.
of the originators of the Tokyo Chomei: Jugyoku 3E- #
Carvers’ Association, for which he Kaei (1848-1853). Was a pupil of

240 • INDEX OF NETSUKE CARVERS

 57. JUGYOKU 58. JUGYOKU

Ryukei (B 852). See mosha (No. was the carving of objects from the
57). cypress wood of Nara. Her husband,
Shoju V (B 997), came from a
408. Jugyoku |p 3£. Uji: Ueda _L Yamada family which dealt in Uji
pa. JV<z: Naokichi ji[ Go: Ryuko-
tea. Owing to her fear that the poor
sai f| % |f . Chomei: Jugyoku or
ability of her husband might in-
Rvukosai Jugyoku #1 It IP % jure the reputation of her family,
Sometimes cut his mei or in on an
she carved dolls in her husband’s
inlaid ivory plaque. Lived in Hi-
stead, becoming quite expert.
gashi-Okubo, a suburb of Tokyo.
Was a pupil of Keigyoku (B 468). 418. Juzan |p |_L|. See Ishikawa
Excellent carver in both wood and Komei (B 350).
ivory. Most of his work was carved
419. Juzo J- pg. Lived in Waka-
at the request of Tomigawa. One yama during Temmei. Adopted the
of his carvings is signed: “64 years
style of Issai (B 352).
old, Meiji 12.” See Figs. 155 and
164. See mosha (No. 58).
K-
409. Jujo |p Early.
420. Kagei jp; Born Osaka in
in
410. Jukei lf| Early. Figure 1850. Was the second son of Dosho
netsuke by this carver are in exist- (B 89). Called himself Kagei
ence. Ryojiro jp; # M Vn £[$• Shibayama
411. Juko |p %. Early.
Yoshigoro ^ (JLj5 5if of Tokyo
lift

visitedDosho on his return from

412. Jumin |p J^. Early. China. Kagei became a pupil of
Juraku Yoshigoro in Tokyo and returned
413. |p Middle.
to Osaka in 1874. Was proficient in
414. Jurakusai |p ^ if. Same as the Shibayama style of inlay. Ren-
Juraku (B 413). dered great service in the export

415. Jusai |p
of art objects. Taught the carvers
Died 1776. Ivory.
of Osaka the technique of the Shiba-
416. Jusen |p jpj. Made netsuke in yama inlay. Died in 1924.
the design of children that bear his
421. Kagetoshi jp; flj. Chomei:
mei.
Kagetoshi jp; ^lj. Middle. Wood and
417. Juteini |p ^ /g. Died 1776. ivory. Famous for his minute carv-
A woman whose family profession ings. Lived in Nagoya, though there

JOKO KAGETOSHI • 241

 59. KAGETOSHI

issome opinion that he came from 1813, the first son of Shimizu Kichi-
Kyoto. See Fig. 160. See mosha bei tK "a ^^ of Sugishitadori,
(No. 59). Osaka. In January 1829, he was
adopted by Yasunaga Kichirobei
422. Kagetsu ft . Middle.
Wood. §£ ^ Hr- After the death of
his adoptive father, he succeeded
423. Kagetsu U ft . Chomei: Ka- to the name of Yasunaga. Had no
getsu fj ft . Tempo (1830-1843). teacher in the study of carving
Wood. techniques. Made
sketches from

424. Kagyokusai Mid- Carved in wood and ivory.

life.

dle.
Used the mei of Masatsugu IE
until approximately his 20th year,
425. Kahei %£ Lived in Shi- Kaigyokudo fjg IE until approxi-
manouchi, Osaka, before Temmei mately his 30th year, Kaigyoku
(1781-1788). Galled himself Omiya 'lit IE
until about his 50th year, and
Kaigyokusai fg IE ^
thereafter.
His output comprised mainly oki-
426. Kahinshiryu M % 'M- See
mono and netsuke. About 70 or 80
Eiraku (B 98).
percent of his work was exported
427. Kaho |ii^.
^
Uji: Okazaki [SJ to foreign countries.
Na: Eizaburo
llf$. ^[5. ^H
Late. Among his okimono masterpieces
Lived at Morinomiya, Osaka. Was are “Scenes of Plowing,” “Child
a pupil of Masaka (B 592). and Shishi” (owned by the Sumi-
tomo family), and “Takarazuku-
428. Kaigyoku 3£ See Kai-
shi” (a collection of symbols in-
gyokusai (B 430).
dicating wealth, com-
happiness,
429. Kaigyokudo See fort, and luxury). The “Takara-
Kaigyokusai (B 430). zukushi” is in ivory and incorpo-
rates the Seven Lucky Gods. It is
430. Kaigyokusai 3£ ^ Mei: . owned by a branch of the Im-
Masatsugu IE #£, Kaigyokudo fg perial Family. Other okimono in-
3£ Kaigyoku IE, Kaigyoku- clude the palace of the Dragon
sai IE If, Kaigyokusai in f|j 3£ Hf King carved in a clamshell and the
ft],Kaigyokusai Masatsugu in IE happy old couple of Takasago
If IE ^
ffl. Kaimyo: Tokuo Kaigyo- carved in a pine cone. Kaigyokusai
ku Zenjoman. Born September 13, once fashioned a netsuke in the form

242 • INDEX OF NETSUKE CARVERS

 Its

i VL
>1

a b c

60. KAIGYOKUSAI 61. KAJIKAWA

of a mushroom When some

basket. 431. Kaito tfe In his middle
children who saw were unable
it age he made a study of metal carv-
to identify the subject, he came to ing. Later became proficient in
doubt the success of his effort, and wood carving also. Created a new
he destroyed the netsuke without technique in which he combined
hesitation. metal work with wood carving.
Kaigyokusai’s work is extremely
432. Kajikawa |HJI|. A famous
fine and Using only the
beautiful.
gold-lacquer artist who made gold-
finest ivory material, he carefully
lacquer netsuke. Died about 1887
polished and finished his work. At
at more than 70 years of age. See
first he used the mei of Masatsugu.
mosha (No. 61).
Although his skill at carving was
excellent, his writing of his mei 433. Kajun nj jl[g. Uji: Kumoura
was criticized. Therefore he stud- f| ?j§. Lived in Osaka prior to

ied calligraphy until his ability Temmei (178^-1788). Made un-

to write was excellent. About colored netsuke representing
1887, he had many pupils. When mountain-dwelling ascetics in

they moved to Tokyo, he did not foreign (probably Dutch) dress.

object but on the contrary suggest-
434. Kakosai AT Some ne-
ed that carving in Tokyo would be
tsuke that bear his signature are in
improved by their presence and
existence.
that they should become well
known in Tokyo. Drank 2 or 3 435. Kakuho & $. Middle.
liters of sake every day, starting in Wood. Came from Gifu. Was the

the Carved all

morning. night father of Tessai Kano (B 1173).
whenever he felt well. Died on 436. Kakujuken H ip . See Itto
January 21, 1892, at his residence (B 381).
in Osaka at the age of 80. Buried at
the Hoju-in. 437. Kakushu Middle.

There are numerous carvings 438. Kametomo |g £. Ondoku:

that bear the signature of Kai- Kiyu H Early middle. Wood.
gyokusai, but many are forgeries.
439. Kameya Higo |g HE
His grandson Seikei (Hidezo Yasu-
See Higo (B 221).
naga) presently lives in Osaka. See
Figs. 32, 70, 74, 75, and 146. See 440. Kamman JC $g. Born in

mosha (No. 60). Iwami. Was a pupil of Tomiharu

KAGETSU KAMMAN • 243

 62. KANEYUKI 63. KANSHI 64. KASHU

(B 1191). Carved frog netsuke from 449. Kansai J|‘ |jf. Some netsuke
ebony and shrimp netsuke from bearing his signature are in exist-
wild boar tusk. Signed: “Made by ence. See Fig. 196.
Kamman, living in Iwami ft jf,
450. Kanshi fg ft or Kan fg. See
nmit” Ritsuo (B 826). See mosha (No. 63).
441. Kanchu % Middle. Ivory.
451. Kansui Early middle.
Pd tJc.
Goats.
Wood.
442. Kanemichi Ig. Tempo
452. Kanzo |gj Uji: Tatsuki f|
(1830-1843). Ivory.
Tfc. Temman, Osaka, prior
Lived in
443. Kanetada JjjJ. Early. to Temmei (1781-1788).
Wood. Figures.
453. Karaku pJ Uji: Oga jz If-
444. Kaneyoshi jjl| j^. Middle. Employed at the Osaka Museum
Ivory.
about 1894 or 1895. Excelled in
445. Kaneyuki ^
ff. Uji: Matsu- carving. Preferred figure netsuke.
da EH. Lived during middle and
454. Karaku jfe *j!§. Early middle.
late. Carved netsuke from red
Ivory.
sandalwood. Lived in Maruyama,
Kofu. Signed: “Kofu Maruyama 455. Karyo |§p. Early. Wood
ju Matsuda Kaneyuki kao ft % and ivory.

lb ft® WifffcW •” See mosha Kasai

ffl
456. Some netsuke
(No. 62). are found that bear his signature.
446. Kanji %
Kyozaido Go:
457. Kasen ^ Y|Jj- Early. Wood
'g*.
% Kaei
Chomei: Kanji
and ivory.
(1848-1853). Mainly wood.
458. Kashinsai ff Hf. See Mi-
447. Kanjuro |Hj T g|$. Lived in
wa Zaiei (B 710).
Kyuhoji, Osaka, before Temmei
(1781-1788). Was
master of the 459. Kashu gf^. Chomei: Kashu
Dembei of Tawaraya, a shop that ft Before Temmei (1781-1788).
produced straw rice bags. Made A netsuke carver of no particular
figure netsuke in ebony with face, fame. See mosha (No. 64).
hands, and legs inlaid in ivory.
460. Kashun Chomei: Ka-
448. Kanjusai $] f| . Middle. shun jfc Tempo (1830-1843).
Ivory. Ivory and wood.
 : :

65. KEIKOKU

461. Kawai Yoritake M A H j£. 474. Keisai jgf. Late. Wood.

See Yoritake (B 1287).
475. Keisai ^ Keio (1865-
462. Kazumasa — IE. Early. 1867). Mainly wood.
Wood.
476. Keisai Uji: Matsushita
463. Kazumoto — *• Early. IS T- Ah: Ki-ichiro U— Cho-
Wood. mei: Keisai ^ Was a pupil of
Kyusai (B 576).
464. Kazushige -It. Chomei:
Kazushige —
j§;. Kansei (1789- 477. Keizan ffg [i|. Tempo ( 1 830—
1800). Carved netsuke of figures 1843). Wood.
and animals.
478. Kensai Uji: Arai M #.
465.Keifudo M 's’. Early. Late middle and late. Lived in
Wood. Masks. Yunoshima, Hongo district, Tokyo.
Carved netsuke and other small
466. Keigetsu ^ ft . Middle.
objects.
Wood.
479. Kenya A famous cera-
467. Keigyoku ^ 3£. Middle.
mist of Tokyo. Made porcelain
468. Keigyoku Middle. netsuke. See Fig. 91.
Lived in Fukagawa, Tokyo. Was
the teacher ofjugyoku (B 408).
480. Kichibei ^A f$T* Before
Temmei (1781-1788).
469. Keiju JH Up. Chomei: Keiju
481. Kigyoku || 3E- Chomei: Ki-
mW- Tempo (1830-1843). Wood.
gyoku HT. Kansei through Bunsei
470. Keikoku $| Chomei Kei- (1789-1829). Wood. Made netsuke
koku ^ Late. Wood. Sometimes of figures, masks, and other sub-
carved his mei in shell, which he jects.
inlaid in the carving. See mosha
(No. 65).
482. Kigyoku H; 3£. Middle.
Ivory.
471. Keimin gg fjg. Early. Ivory.
483. Kihodo ^ See Masa-
|Ii|r

472. Keimin j^. Uji: Suwa kazu (B 596) and Masaka (B 592).
ffr. JVa: Kyuhachi J\ A- Middle. Both u~ed go of Kihodo.
A pupil of Rakumin (B 794).
484. Kikugawa Jl|. Chomei Ki-
473. Keiri ^lj. Late. kugawa saku Jl| fT or kakihan.

KANCHU KIKUGAWA •
245
 1

£
*

<r

66 . KIKUGAWA 67. KIKUGAWA MASAMITSU 68. KIYOKATSU

Koka through Keio (1844-1867). the same great reception accorded

Named Masamitsu IH Jh. Lived in the white deer carved by Toen
Negishi, Tokyo. Learned ivory carv- Morikawa (B 1177). Kisai made
ing from Shobei % until the everything from small ojime to
age of 20. Devoted himself to carving large houses. A house he built
netsuke. Made okimono after the shook in the wind, turning a guest
opening of Yokohama to foreign pale with fear. Kisai reassured the
trade. Was the teacher of Ishikawa guest by saying that the houses he
Komei (B 350). See mosha (No. 66). built were made to sway in the
wind, which was the secret of their
485. Kikugawa Masamitsu
strength.
Jl[ B 484. See mosha (No.
IE it- See
67). 492. Kishosai % % |f . Chomei:

486. Kikuo Kimioki ^^ f|.

Kishosai %% |ff . Late. Ivory.

Middle. Wood. 493. Kisui Early. Ivory.

Figures.
487. Kimeisai Eft |f . See Nin-
raku (B 760). 494. Kitei H Mei: Kitei H^
(yaki-in) . A famous ceramist of
488. Kinryusai ^ . Bunsei
Kyoto. Made porcelain netsuke as
(1818-1829). Galled himself Tada-
a hobby.
tane & )fL- Lived in Tokyo. Carved
only netsuke. 495. Kiyokatsu ^ jgf. Chomei: Ki-
yokatsu f§ J$|. Middle. Mostly
489. Kintaro ^^ ||5. See Ko-
ivory. Excelled at carving netsuke
gyoku Asami (B 512).
in the shape of shells and vegetables.
490. Kiryosai f See Ekisei Left some beautiful pieces. See mo-
(B 102). sha (No. 68).

491. Kisai *j| ^ff. Uji: Arakawa ^ 496. Kiyomitsu ^ %. Chomei: Ki-
Jl[. Shigenosuke H;
Tsusho: $). ^ yomitsu ^ %. Bunkyu (1861-1863).
Died in 1897. Came from Izumo. Mainly wood.
His body was short and stumpy
497. Kiyozumi ££. Early.
and his mind philosophical. His
Wood.
statue of the goddess Kushinada,
which became one of the treasures 498. Kiyu H
$jf. Go: Chikusai ft

of the Izumo Taisha Shrine, was Hf. Middle. Lived in Asakusa, To-
exhibited at Chicago. It met with kyo.

246 • INDEX OF NETSUKE CARVERS

 69. KIZAN zo. KOGETSJ

499. Kiyu |g fe. See Kametomo peated only a small fraction of the
(B 438). original models. Also interested in
the study of ancient art and china-
500. Kizan H [JU . Chomei: Kizan
ware. Moved to Osaka after the
H Uj. Temmei and Kansei (1781-
great earthquake of 1923. Most of
1800). Wood figures.
his work consists of items of small
501. Kizan ^i!|. See Kizan (B size, some of which he signed or
502). marked with his seal. For the most
502. Kizan Oj. Uji: Kamibaya- part, however, he did not sign his

shi Na: Zenshi H

dr- Chomei:
work. See mosha (No. 69).
Kizan tfi^ or kakihan. Born in
503. Kobun % ~X. Late.
Tokyo in 1885. Interested in art
from early childhood. Took spare 504. Kochosai % f! If- Tempo
time from school to study lacquer- (1830-1843). Ivory.
ing with Hashimoto Ichizo II $§
rtf jjgg. Made a special study of kyu-
505. Koei 35g. %
Some netsuke
bearing his signature are in exist-
shitsu (lacquering in a single coat
ence.
with an antique effect) and kan-
shitsu (carved dry lacquer) as ap- 506. Kogetsu ft . Early middle.
plied to Buddhist statues. Devel- Ivory.
oped a new method for mixing and
applying dry lacquer, which he 507. Kogetsu ft . Middle.
used to produce some superb ob- Wood and ivory.

jects. Despite the complicated tech- Tempo

508. Kogetsu ft •

niques and long hours required, wood. His

Mostly
(1830-1843).
Kizan enjoyed his work. His char- work is realistic and in good taste.
acter was such that he had no
Sometimes signed “77 years old”
desire for recognition or money.
with his signature. In some in-
Neither exhibited his work nor sold
stances he carved his signature on
to dealers but gave pieces away to
an inlaid plaque of black persim-
those who were sincerely interested.
mon wood. See mosha (No. 70).
Although he developed his special
kanshitsu technique only after 509. Kogetsusai %n Sf- Go:
arduous labors and struggles, he Naomasa pH IE. Chomei: Kogetsusai
made only a few original designs Naomasa in % ft fjf pit IE RL Kyo-
and destroyed most of them. Re- wa through Bunsei (1801—1829).

KIKUGAWA KOGETSUSAI • 247

 71. KOKEI

Carved in ivory. Often made manju bearing his signature are in exist-
netsuke. ence.

510. Kogyoku 3£. Late. Ivory. 520. Kojitsu ^ Jf. Uji: Saito |f

Kogyoku H. JVa: Yataro «jj| £[$. Kaimyo:

511. jt 3L Go: Anraku-
Bonshakuengyo Shinshi. Born in
sai ^ Hf. Late. Carved netsuke
1833. Was a son of Ikkosai (B 336).
of hermits and human figures.
Succeeded Ikkosai II jt Hf —
512. Kogyoku % 3£.
Asami Uji: Entered the school of Hojitsu (B
$£ JVa: Kintaro g|$. Middle 243) in his middle years while living
and late. Son of Koun Asami (B at Asakusa, Tokyo. Carved in ivory.
554). Lived in Asakusa, Tokyo. Died on July 27,1 893. Buried at the
Shinjo-ji. See Fig. 215.
513. Kogyoku % Uji: Nishino
W if. JVa: Kyutaro g|$. Go: X 521. Kojun ^ Early. Wood.
Homeisai 5|f ^ Chomei: Kogyo- .

522. Kokaku Jtfe. Chomei: Ko-

ku Jt 3£. Born in 1775. Lived in
Tokyo. A pupil of Gyokuhosai
kaku % fa- Tempo (1830-1843).
Ryuchin (B 843). 523. Kokei % Jf|. Chomei: Kokei

Kogyoku
% HE- Ansei through Keio (1854-
514. ^ 3£. Carved ne-
1867). Mostly wood.
tsuke masks and figures of children.
524. Kokei $|. Chomei: Kokei
515. Kogyokusai Late.
Ivory.
Jfc Hf.
^ Temmei and Kansei (1781-
1800). Wood. Animal netsuke.

Kohosai Excelled at carving tigers, a sub-

516. Uji: Ueda
ject for which he was famous. His
_h pa Chomei: Kohosai
.
JH £ .

animal netsuke reveal a great

Died about 1907. Lived at Kawara-
machi, Osaka. Ivory. Left some fine depth of feeling and beauty. Born
carvings of chrysanthemums. See in Ise. Studied carving in Kame-
Fig. 163. yama. Later lived in Kuwana.
Desired to emulate Minko (B 661),
517. Ko-ichi ^—
Some netsuke .
whose style he adopted with realistic
bearing his signature are in exist- modifications. On results with
ence. which he was satisfied he carved a
kakihan that was similar to Minko’s.
518. Ko-ichi Jfc — . Late. Ivory.
See Figs. 122 and 123. See mosha
519. Ko-ichi — . Some netsuke (No. 71).
 a
W b

72. KOKUSAI 73. KOMIN

525. Kokeisai . See San- kusen ^ Bunka (1804-1817).

sho Wada (B 903). Wood.
526.Kokoku^fc^. Tempo through 529. Komei f^. A metal artist.

Keio (1830-1867). Mainly wood- 530. Komin % 3g. Late. Ivory

en netsuke. and wood. Came from Tokyo. Ex-
527. Kokusai ^ . Chomei: Koku celled at carving turtles. Some of
Q Kokusai
or ^ Bunkyu his work is signed: “Made from the
(1861-1863) through the first part precious wood of the Sumida River
of Meiji (1868-1911). Named Oza- See Fig. 131.
ki Sozo JfL M
but also called See mosha (No. 73).
himself Takeda pH. At the age of
531. Komin f^. Go: Ichieisai
21 entered the school of Gyokuyo-
— H • Middle. Ivory.
sai Mitsuhina (B 163) and studied
ivory carving for four years. Was 532. Kominsai ^ ^ . Middle.
extraordinarily clever at creating Ivory.

designs and developed a new carv- 533. Konan j^j. Uji: Inoue #
ing technique. _h. Na: Kikutaro % Jlft. Early
His designs were Chinese in Meiji (1868-1911). Lived at Kana-
stylebut not slavish copies of the sugi,Tokyo. Was a pupil of Uzawa
ancient days nor imitations of Shungetsu (B 1066).
cloth patterns. His style is known 534.Korakusai ^ Early.
If.
as Kokusai-bori (Kokusai-style
Wood. Excelled at carving masks.
carving) and is extremely popular.
Worked mainly in deer horn. 535.Koretaka See Shoju
Father of Koyo Ozaki, the great XII (B 1004).
novelist.In order to secure the 536. Korin ^ Go: Ichieisai —
means Koyo’s education and
for . Carved mask netsuke.
|jf
career he became a professional
537.Koryusai % ft $f- Chomei:
jester and wore a red haori (top-
Naokazu ylC — See Naokazu (B .

coat), which earned him the nick-

746).
name of Red Haori. His struggle
was not futile, and at last Koyo 538. Koryusai $p Hf. See Shun-
established his greatness. See Figs. getsu (B 1066).
20 and 26. See mosha (No. 72).
539. Kosai # Uji: Jujuboku
528. Kokusen ^ Chomei: Ko- IP X Late. Ivory.

KOGYOKU KOSAI • 249

 n

74. KOSEN 75. KOSETSU

540. Kosai Jgf Jf. £//7: Yugawa m 547. Kosen A* jjb Middle. Ivory.
J||. Na: Masakichi "jif. Meiji
548. Kosetsu % If- Uji: Yama-
(1868-191 1). Was a pupil of Hosai
(B 270). Worked mainly in ivory
shita [1| T- Wfl: Gijo H J$. Cho-
mei: Kosetsu Born in Taka-
jfc if.
and horn. Mostly animal subjects.
matsu, Shikoku, in 1894. Entered
Inclined towards pictorial repre-
the priesthood at 19 years of age.
sentations. Hiswork was much ap-
Studied lacquering with Ishii Kei-
preciated by foreigners, and most
of it was exported. Thus there is
do ft ^ of Takamatsu. Dur-
ing some time spent in the army
practically none of his work to be
practiced tsuishu, and tsuikoku,
found in Japan. Continued carving
kokaryokuyo (a kind of Kamakura-
until about 1887.
bori in red and green lacquer to
541. Kosai Jg |f. Early. Ivory. represent flowers and leaves), at
542. Kosai Carved oni ne- which he became very proficient.
tsuke bearing the signature of Ko- Came to Osaka in 1941 and be-
sai. came the chief priest of the Ko-
etsu-ji at Takagamine, Kyoto.
543. Kosai % . Second go: Mo-
Revered Koetsu % whose style
ritoshi Up. Ansei through Meiji
he studied. Produced many fine
(1854-1911). Mostly ivory. Carved
works of art including tea-ceremony
many mask netsuke. Has a beauti-
articles, personal ornaments, and
ful style.
netsuke. He also made wood sculp-
544. Koseki jfr ft. Uji: Naito ^ tures, flower vases, tea dippers, and
§|. Late. Lived at Shimmonzen, other things in bamboo. See mosha
Kyoto. At the request of foreign- (No. 75).
ers, carved various objects which

helped introduce Japanese carving 549. Koshin £

y|. Some netsuke

abroad. bearing his signature are in exist-

ence.
545. Kosen % Nishimoto
{[!]. Uji:
H Chomei: Kosen saku flk fh- % 550. Koshu £ 'J'H . There are ome
Late. Ivory. A pupil of Chokusai carvings of Daruma that bear his
(B 55). Lived in Osaka. See mosha signature.
(No. 74).
551. Koshu jfc -J'H . Some figure ne-
546. Kosensai jfc fjlj . See Naga- tsuke bearing his signature are in
mitsu (B 730). existence.

250 • INDEX OF NETSUKE CARVERS

552. Kotei See Shoju XIII School and helped train and guide
(B 1005). younger men. It is believed that

553. Kou Go: Ichijusai — Up Koun helped create a new era in

ft M-
the field of carving in our country.
If. Middle. Ivory.
Some of his pupils are now them-
554. Koun ft fj|.Asami
Uji:
and
selves professors in art schools,
Middle. Father of Kogyoku (B
some are examiners Im- for the
512).
perial Art Exhibitions. Koun was
555. Koun ft ||. Tomyo: Naka- appointed a member of the Im-
perial Art Committee, in some
jima Kozo ^ ft jjpg. Born in Shi-
taya, Tokyo, on February 18, 1852. measure as an act of appreciation
Was a clansman of the Daimyo of for his help in creating a new art

Inshu. Showed talent in handicraft era.

as a child. At first intended to be- Koun usually lived apart from

come an architect and agreed to worldly concerns and devoted
become an apprentice. The plan himself to the art of creation. He
failed, and instead he entered the had a long mustache and a friendly
school of Toun Takamura (B 1246), warmth which brought forth a re-
who was then the paragon of carv- sponse akin to worship from those
ing. Koun was 12 years old. Taught who met him. Was the greatest
by Toun, he learned the funda- authority on carving during Meiji,
mentals of carving. It is said that Taisho, and Showa. Died at his
Koun’s greatness today is due to residence in Tokyo on October 10,

this fortunate starting point. His 1934, at the great age of 83.
first training was in cloisonne of
556. Kounsai Some
ft §5 .

kojimon (kana or form) de-

letter
figure netsuke bearing his signature
signs and fretwork carving on flat
are in existence.
boards, to which he devoted him-
self night and day. At the age of
557. Koyoken Jjg |j| $f. See Yoshi-
naga (B 1303).
17 his genius came into full play
as he absorbed and applied the 558. Koyu Early. Wood.
basic truths of carving. He was
finally adopted as a son by Taka-
559. Kozan ft fij. Early. Ivory.

mura. 560. Kozan fij. Made figure

Koun became a professor in the netsuke bearing the signature Ko-
newly established Tokyo Art zan.

KOSAI KOZAN •
251
 m m
I

&

76. KYOKUSAI 77. KYOKUSEI 78. KYOKUSEN

561. Kozan "j§f [JL|.

Middle through 566. Kyokusei jig, See Gyoku-
recent years. Wood and ivory. zan (B 164). See mosha (No. 77). |

562. Kunihiro A rabbit ne- 567. Kyokusen jig j|f . Chomei:

tsuke bearing his signature is in Kyokusen jig ]gf . Early middle.
existence. Good at carving figure netsuke.
See mosha (No. 78).
563. Kurobei % ^ See
Shuzan (B 1093). 568. Kyokuzan jig tL|. Late. Wood.
Good at carving frogs.
(Kwagetsu: see Kagetsu.)
569. Kyomin M
J£. Some netsuke
(Kwagyokusai : see Kagyokusai.)
bearing his signature are in exist-
(Kwaigyoku: see Kaigyoku.) ence.

(Kwaigyokudo : see Kaigyokudo.) 570. Kyosui • Some of his

gold-lacquer netsuke are in exist-
(Kwaigyokusai : see Kaigyokusai.)
ence.
(Kwaito: see Kaito.)
571. Kyotei ££ a^. Late. Wood.
(Kwansai: see Kansai.)
(Kwanshi: see Kanshi.) 572. Kyoto @^ . Early.

(Kwaraku: see Karaku.) 573. Kyozaido jfj Go: Kan-

(Kwashinsai: see Kashinsai.)
ji % '?p* See Kanji (B 446).

(Kwashun: see Kashun.) 574. Kyubei Hr* Lived in

Sakai. Studied the Chinese Ming
564. Kyogan jg|. Meiji ( 1 868—
fg gold and metal alloys. Using this
1911). Born
Inno Island. Repu-
at
type of material, cast netsuke by
tation based on his perforated
the lost-wax process in the shape
carvings, but also good at carving
of shells, pots, carapaces, dishes,
bamboo. Died in late Meiji at the
cups, and gourds. Some serve
age of about 70.
as ash-tray netsuke. Some are
565. Kyokusai jig, . Chomei: Kyo- perforated designs such as linked
kusai jjg Hf. Late. Wood. Hermits, circles, arabesques, and hornless
Kannon, and other figures. His dragons (amaryu). Other designs
work was pictorial but in fine are the phoenix, tiger, shishi,
taste. See Figs. 97 and 166. See plum, chrysanthemum, and peach.
mosha (No. 76). Besides netsuke, he made Buddhist

252 • INDEX OF NETSUKE CARVERS

altar articles, sake bottles, fire the Imperial Museum. Adopted
boxes, braziers, and incense burn- the character kyu and changed
ers. Some of his work is marked in his given name to Kyuichi. Began
the casting with the mei of Kyubei using the go of Kyuen is-
^ or Tokyu )|f or “Kyubei 1882, wentNara. In 1887, when
to
living in Sakai, Izumi, a maker of the Tokyo Art School was estab-
Chinese articles in the style of lished, was appointed a professor
Hsiian Te of the Great Ming period in the sculpture department to-
gether with Kano Tessai sk-

^ Hr f^.” His masterpiece is a in 1890 exhibited a carving of the

lantern hanging at the tower gate Emperor Jimmu which was widely
of Sugahara Shrine at Sakai. The acclaimed at the International In-
writing on a concave surface dustrial Exhibit. Was an enthusias-
reads: “On this auspicious day of tic follower of the Nichiren sect of
November of Kyoho 19 [1734] a Buddhism. Made the original de-
metal artist living at Sakai of signs for the Nichiren bronze statue
Senshu —Karamonoya Kyubei Tsu- in Hakata and the statue of Nichi-
nenobu made + + ren in Nirvana found on the island
-n ^ 0 of Ushigakubi in the Inland Sea.
•” See Fig. 21. Became a member of the Imperial
Art Committee in 1906. Was seven
575. Kyuichi — Born on July
.
times an examiner of the Ministry
9, 1857. Galled himself Takeuchi of Education Exhibition. Died on
Kengoro f*l H 3£ Jt|$. Used the September 24, 1916, at the age of
go of Shusai 411 HI- Was the son of 60. Starting his career as a netsuke
Tanaga, who owned a lantern shop artist, Kyuichi continuously wrote
in Asakusa, Tokyo. At 13 became and lectured enthusiastically on
a pupil of Ryusen Horiuchi (B 878), the subject of netsuke. Was a true
a netsuke carver. Ryusen died soon benefactor of the netsuke com-
after, and Kyuichi entered the munity.
school of Shuraku Kawamoto (B
1077). At 22 he received from his 576. Kyusai Go: Tetsugen
master the artist name of Senshu Tetsugendo ^ Kyusai
jl| $H, and became independent. Chomei: Kyusai Born in
Became friendly with Machida Osaka on March 29, 1879. Named
Hisanari ftf ffl !h the curator of Hirai Shin ip 44 Learned carv-

KOZAN KYUSAI •
253
 I * I ^
79. KYUSAI 80. KYUSAI 81. KYUSEN 82< MASAFUSA

ing from his father Hansen ^ Signed with a kakihan or in. See
Called himself Tetsugen or mosha (No. 81).
Tetsugendo $g[ jg* %
until he was
579. Kyuzan ^ [i|- Middle. Wood.
36 years old. Presented an incense Figures.
case in the shape of a mokugyo
(wooden gong) to Prince Songaku
Konoe. Being very pleased, the
-M-
prince took a character from the 580. Mampo H J|. Late. Came
name of the Hankyu $£ ft| Palace from Mino. Excelled at engraving
of the where he was
Chugu-ji, seals.
then staying and
conferred on
581. Masa-aki IE E^J. Chomei: Ma-
Hirai the name of Kyusai, which
sa-aki IE EJJJ. Temmei and Kansei
he thereafter used as his go. In the
(1781-1800). Wood. Animals.
autumn of 1927, he altered the
characters of his go from ft§ ||f to 582. Masabumi JE Middle
Was requested by the Min- Wood.
istry of Commerce and Industry 583. Masachika IE Late. Was
to enter the International Exhibi- adopted son of Kaigyokusai (B
tion held at Paris in 1895. Kyusai 430). Named Yasunaga Kichirobei
entered a bamboo flower vase 7k ^ & Wb Succeeded to the
entitled “Goddess of Peace,” for business of his natural father.
which he was awarded a bronze
prize. Died on March 30, 1938, at 584. Masachika If& ||. Go: Sho-
the age of 60. Buried at the Ha- ryusai f| . Late. Lived in Asa-

kugo-ji in Nara. Undoubtedly one kusa, Tokyo. Good at carving ivory.

of the great masters of recent 585. Masafusa Middle.
IE M-
years. See Figs. 54, 113, and 210. Wood and ivory. Signed: Masa-
See mosha (No. 79). fusa. See mosha (No. 82).
577. Kyusai ft| . Chomei: Kyusai 586. Masaharu IE #. Chomei:
ft! or
Kyusai-in ft! If gj. See Masaharu IE through Kyowa
Kyusai (B576). See mosha (No. 80). Bunsei (1801-1829). Mostly ivory.
Carved netsuke of hermits, figures,
578. Kyusen Jx Go: Rakushi-
animals, and masks.
ken ^ . Middle to late. Was a
son of Gyuka (B 167). Was a tea 587. Masaliide IE Early.
master. Also carved Uji dolls. Wood.

254 • INDEX OF NETSUKE CARVERS

 S. J X
e A

83. MASAJO 84. MASAKA 85. MASAKAZU

588. Masahide IE Uji: Kuro- other objects to other members of

kawa H Jl|. Chomei: Sakiyo Kuro- the royalty. Honored by Baron
kawa Masahide-in H jl| IE ^
lll^ Kyuki with special permission to
fp. Early. Excelled at carving nuts view the collection at the Shosoin.
and coconuts. Also good at carving His style was pictorial and his
mask netsuke. techniques painstaking. See mosha
(No. 84).
589. Masahiro IE Hlf. Middle.
Ivory. Called himself Ryuchokusai 593. Masakata IE jj. Middle.
Wood.

590.Masahiro IE »j&. Middle. 594. Masakatsu IE Was a son

Wood. See Fig. 173. of Masanao (B 612). Work was
fine and beautiful. Output very
591. Masajo IE ^c. Middle. Came small because he was sickly. Exam-
from Nagoya. Wood. Sleeping sho-
ples of his work are rare. Died on
jo, shells, and other subjects. See
January 4, 1899, at the age of 60.
mosha (No. 83).
See Fig. 179.
592. Masaka Uji: Sawaki
IE
595. Masakazu IE — . Chomei:
Aa: Risaburo flj H £[$. Go:
Masakazu IE — or Masanao IE pit.
Kihodo ^ |Iit Chomei: Masaka
Meiji Lived in Ise
(1868-1911).
IE # or Kihodo Masaka ^ |I|f ^ IE Yamada. Called himself Chikuzen-
Born in Nagoya Was ain 1868.
ya. Operated an eel restaurant.
pupil of Masakazu (B 596), who
Studied carving under Masanao
later adopted him. Removed to
(B 612). Became a proficient carv-
Osaka in 1883 and there carved
er. Often used the signature of
netsuke and small okimono. Es-
Masanao. Hence people referred to
pecially good at carving rats. His
him as Chikuzenya Masanao. Died
entry in an exhibition held at Kobe
in late Meiji. See mosha (No. 85).
in 1889 or 1890 — a cake plate dec-
orated with a bag of 00
1 rats —was 596. Masakazu IE — . Uji: Sawaki
purchased by the Emperor Meiji. 'M 7fc- Na: Manjiro fij lift. Go:
Also sold, through the intermediary Kihodo ^ lilt ^ or Kihosai ^ lilt If-
of Kiyosuke Ikeda, a carving repre- Chomei: Masakazu IE — • Meiji
senting a group of rats to Prince (1868-1911). Was a younger broth-
Komatsu, a carving of a Nio (Deva er of Masatoshi (B 630). Came from
King) to Prince Arisugawa, and Nagoya but later resided in Osaka.

KYUSAI MASAKAZU 255

 .

IE

86. MASAKAZU 87. MASAMITSU 88. MASANAO

Carved in ivory and wood. Made mei: Masamitsu IE %. Came from

excellent netsuke of hermits, figures, Takada, Echigo. Was a pupil of
animals, insects, and masks. Made Masayoshi Ishikura (B 638), who
many rat netsuke which were ex- later adopted him. Subsequently
ported because they appealed to returned to his original family.
foreigners. Repeated the subject Died in 1909 at the age of 73.
constantly. Died on January 28,
605. Masamitsu IE %. Called
1891, at the age of 53. See Figs. 88
himself Hagiwara Kaiko tfe
and 120. See mosha (No. 86).
$fc. Was a clansman of the family

597. Masakazu H — . Early mid- of Tatebayashi Akimoto of Joshu.

dle. Wood. Went to Tokyo and became a pupil
598. Masakiyo Uji: Sakai
of Kaneko Kaito T
^C, with
IE fljf.
whom he studied ivory and tusk
JVa: Seizaburo ^H £[$• Cho-
carving. Excelled in carving to-
mei: Masakiyo IE iW* Was a pupil bacco pipes. His was patterned
style
of Masakatsu (B 594). Lived in Uji
after the carving methods of Kaito
Yamada but later moved to Akeno, (B 431) and Kokusai (B 527). Died
a suburb. Carved mostly animals
about 1902 at the age of 50 some
in wood. See Fig. 176.
years. See mosha (No. 87).

599. Masakuni IE HI. Early. 606. Masamitsu IE %. See Kiku-

Wood. gawa (B 484)
600. Masamaru IE jl- Early.
607. Masamori {
Middle.
IE rf.
Wood.
Ivory.
601. Masamichi IE M- Middle.
Masanaga
608. IE J|. Early mid-
Wood.
dle. Wood.
602. Masamichi jEB§- Was a
609. Masanao IE ylt. Chomei: Ma-
metal artist but also carved netsuke
sanao IE Lived in Kyoto during
jH.
in wood.
Temmei and Kansei (1781-1800).
603. Masamine IE Middle. Excelled in both wood and ivory
Excelled in carving ivory. Named carving. See Fig. 114. See mosha
Hidari. (No. 88).

604. Masamitsu JE %. Uji: Eji- 610. Masanao JEW.- See Hokinsai

ma|I|. JVa: Kotaro ^^ g|5. Cho- (B 248).

256 • INDEX OF NETSUKE CARVERS

 £
M. jSL A
89. MASANAO 90. MASANAO 91. MASANAO

611. Masanao IE M- Early. Wood toads and the animals of the zodiac.
and ivory. Galled himself Isshinsai His style developed from the in-
— i(\ |jf. See mosha (No. 89). structions of his teacher. Died on
April 13, 1922. See Fig. 92.
612. Masanao IE |[. Born on
August 12, 1815, in the village of 614. Masanao IE jit- Chomei: Ma-

Ugatamura Suzuki
in Ise. Named sanao IE pfC. Born in March 1890
Shinsuke but later changed to Suzu- in Yamada. Was the son of Masa-
ki Shinzaemon. Removed to Yama- nao II (B 613). Learned carving
da. At first he was a metal crafts- from his father. Named Miyake
man but in his middle years studied Kisaburo H l![L Became Ma-
carving with Ittan (B 377), who sanao III. Was as able as his father

was a samurai of the Toba clan. in carving toads and the animals
Carved netsuke of toads, animals, of the zodiac. Hashimoto Heihachi
landscapes, flowers, birds, and al- H ip: ^ Aj Yamamoto Naomasa
most everything else. His animals (B 749), Sakai Masahide (B 587),
are very fine. Much preferred to Sakuradani Naohiro ill

work in wood. Only a few of his and Nagai Masa-aki 7k IE # 58

netsuke in ivory are known. His were all pupils of Masanao III.
carving is sensitive and strong. 615. Masanao IE flit. Chomei: Ma-
Usually utilized a convenient con- sanao IE jj§j\ First lived in Yamada
figuration in the netsuke itself for but later moved to Shawa, Saka-
the attachment of the cord, thereby machi, Taki-gun, Ise. Called him-
eliminating the himotoshi. Died on self Yonehira Entered the
January 8 1890. See
,
Fig. 110. See school of Masanao I (B 612). Ma-
mosha (No. 90). sanao gave him a wood carving
I

representing himself (Masanao).

613. Masanao IE jg. Chomei: Ma-
As a result, adopted the signature
sanao IE jit. Masanao II was born
of Masanao. Hence people referred
on January 15, 1848, in Yamada.
Named Miyake Chogoro H L: 3l to him as Shawa Masanao U IE
See mosha (No. 91).
£[$. Was a pupil of Masanao (B jj|\

612), to whom
he was related and 616. Masanobu IE fs- Uji: Ada-
was therefore permitted to adopt chi ^ H|. Na: Tomoshichi £ Li-
the signature of Masanao, becoming Born in 1838. Was a pupil of Masa-
Masanao II. Good at carving. Like yoshi (B 638). Was a samurai of the
his teacher, excelled at carving Owari clan.

MASAKAZU MASANOBU • 257

 -Ol
£

92. MASATADA 93. MASATERU

617. Masanori ]E 1<J. C//VV Kawa- 625. Masateru IE 0$. Chomei: Ma-
kita 4b- Born in Ise but died in
Jl| sateru IE 03. Late. Son of Masa-
Kyoto. Learned carving from Ma- chika (B 583) and a grandson of
sakazu (B 596), and his son Masaka Kaigyokusai (B 430). Lived in
(B 592). Osaka. See mosha (No. 93).

618. Masanori IE US Made mask 626. Masatomi IE m- Some figure

netsuke. netsuke by him are in existence.

619. Masasada IE M- Late. Carv- 627. Masatomo IE #£. Chomei:

ed in ivory and wood. Masatomo Tempo through
IE
Kaei (1830-1853). Came from Ise.
620. Masashige IE M- Early.
Wood. Figures. Carved netsuke of hermits, figures,
animals,and insects.
621. Masatada IE /&. Chomei: Ma-
satada IE Early Meiji (1868-
628. Masatoshi IE |p. Early.
JjtJ.
Ivory.
1911). Mainly wood. Was a pupil
ofMasanao (B 612). Carved many 629. Masatoshi IE Middle.
animal and insect netsuke. See mo- Ivory.
sha (No. 92). Masatoshi
630. IE #lj. Go: Unin-
622. Masatami IE Chomei: do H® Takushijun ^±
Masatami IE f£. Kaei (1848-1853). Chikukai Rojin YS $$ A> Usetsu-^
Came from Nagoya but later moved sai pjf if H, and others. Mei: Gek-

to Osaka. Mainly ivory. Carved kin ft ^ Chomei: Masatoshi IE flj.

.

netsuke of figures, animals, and Died on August 5, 1884, at the age

masks. Excelled in carving mon- of 50. Called himself Sawaki Toshi-
keys, which he made for export. zo '/f A f iir. Was the second son
Ij

623. Masatami IE ££. Died in

of Sawaki Risuke if§ ^lj ffj of A
Nagoya and an elder brother of
1928 at the age of 75. Lived his
Masakazu (B 596). Excelled in
entire Nagoya. Called him-
life in
carving and received a commission
self Moribe Fukuzo gji jjfg Hr. ^ to work for the local clan. Com-
Was a pupil of Masakazu (B 596).
missioned by the Imperial House-
Excelled in both wood and ivory
hold Ministry to design the Great
carving. See Fig. 174.
Seal in alabaster. Later moved to
624. Masatane IE fl. Tempo Osaka. In 1878, went to China to
(1830-1843). Ivory. study for several years. Carved

258 • INDEX OF NETSUKE CARVERS

 ss.

h
94. MASATOSHI 95. MASAYOSHI 96. MASAYOSHI

netsuke and tea-ceremony articles. 46. Had family names of Ishikura

Also made instruments for the play- ^^ and Goto |§, using them
ing of Chinese music of the Ming both. Came from Takada, Echigo.
and Chfing periods. It is said that Excelled at carving many types of
the moon guitar (gekkin) made by objects from childhood. Also carved
Masatoshi was superior to those netsuke. Was particularly good at
made by the Chinese. See mosha carving shishi. See mosha (No. 95).
(No. 94).
639. Masayoshi B&jf. Uji: Iwa-
631. Masatoshi IE ^J- Chomei: ma £ fffj. Died in August 1837 at
Masatoshi IE ^lj. Temmei and Kan- the age of 74. Entered the school
sei (1781-1800). Excelled in carv- of Chokuzui pit Psff but was also
ing both wood and ivory. Carved taught by Seishin §£ fff At first .

animals, and
netsuke of figures, called Kinzo jjgg but £
name later
masks. changed to Kinuemon
632. Masatoshi IE ^lj. Chomei: Was an expert metal artist of the

Masatoshi IE ^lj. Late. Ivory and Nara school. Especially good at

inlaid work. carving figures, Noh masks, and

animals. Created many original
633. Masatsugu IE See Kai- designs. Some of his work is as fine
gyokusai (B 430) and Fig. 39. as that of Seizui (B 938), for which
634. Masatsugu IE Called reason people nicknamed him Sei-

himself Hokutosai zuibo (son of Seizui). Occasionally

ifc || |f.
made gold kagamibuta netsuke.
635. Masaya IE -&• A treasure See mosha (No. 96).
boat (takarabune) netsuke bearing
his signature is in existence. 640. Masayoshi IE
r
o . Middle.
Ivory.
636. Masayasu IE Carved ne-
tsuke of figures. 641. Masayoshi IE Carved
figure netsuke.
637. Masayasu IE Some ne-
tsuke are found bearing this signa- 642. Masayuki IE Middle.
ture. Ivory.

638. Masayoshi IE if§. Azana: Ya- 643. Masayuki IE Some ne-

okichi AW lif • Chomei: Masayoshi tsuke bearing his signature are
IE |§. Died in 1848 at the age of found.

MASANORI MASAYUKI •
259
 97. MASAYUKI 98. MATAUEMON

644. Masayuki IE Uji: Kato 1893, at the request of the Ministry

M Masayuki IE Hz. or
Chomei: of Agriculture and Commerce, ex-
kakihan. Middle and late. Lived in hibited some of his work at the
Yotsuya, Tokyo. Studied medicine Great Columbian Exposition in the
but later took up carving. Some of United States. Was an expert
his fine ivory carvings of oni and carver in ivory.
Ofuku are to be found. See Fig. 87.
652. Meigyoku 58 3£. Figure ne-
See mosha (No. 97).
tsuke with his signature are in
645. Masayuki IE Chomei: Ho- existence.

shunsai Jiff ^ Masayuki in. Kyo- 653. Meijitsu 58 Chomei: Mei- Ilf-
wa through Bunsei. Called himself jitsu58 1ST- Tempo
through Keio
Hoshunsai. Some say Hoshinsai,
(1830-1867). Ivory. Was a pupil
but this is not correct. Carved ne- of Hojitsu (B 243).
tsuke of figures and animals. See
Fig. 183. 654. Meikeisai 58 M If- See Ho-
jitsu (B 243).
646. Masazane IE jSf. A netsuke
655. Meisei 58 IE- Mainly wood.
carver of Edo.
656. Meizan 58 lib Some netsuke
647. Masazane jjjy Early.
bearing his signature have been
Wood.
found.
648. MatagoroX $ HR. Family 657. Miki Tfc. H
Some netsuke
name was Yoshida ^ and his pEl,
bearing his signature are in exist-
go was Kinko &
ence.
649. Mata-ichi ^ Figure ne- iff.
658. Mingyoku 3E- Go: Seisei
tsuke bearing his signature are in
existence.
X . Early.

659. Min-ichi fj£ —

Chomei: Min-
.
650. Matauemon X £ Hr FT Cho- ichi — Mainly wood.
mei: Kishu Matauemon in X^% 3g; .

P8 RE Lived in Kyushu prior to 660. Minjo Late.

Temmei (1781—1788). Carved ex-
cellent netsuke. See mosha (No. 98). 661. Minko |!|f££C. Chomei: Kakihan
based on character min [I|£; or based
651. Meido ^ Uji: Asahi |5 0 . on Gose Minko 3£ if! !HR £E. Some-
Chomei: Meido koku ^^ ^lj. In times carved Minko |!]j£ £E on an
inlaid ivory plaque.Born in Iga. sent his eyes revolving in red and
Caught the attention of Marquis white colors and a walnut that when
Todo while carving Buddhist shaken revealed an insect protrud-
household shrines. Marquis Todo ing from a tiny aperture. Also de-
took Minko and a group of ten vised a replica of the hanging bell
others into his service. Minko moved of Dojo-ji in which the face of the
to Tsu and took up residence in priest Anchin is seen alternately
the home of Oumaba. Later Minko flushed and pale as the bell hanger
began carving netsuke and re- is turned. The design is surely
markable swords. He gave para- enough to startle anyone.
mount consideration to original “Also made smoking pipes, in-
designs. It is said that he immediate- cense and writing-brush
boxes,
any pupil who sketched
ly dismissed boxes on which he carved figures,
from nature. For animal eyes he horses, cloud dragons, and other
usually used metal. Made tonkotsu designs. Also carved tobacco
(tobacco cases) in wood with inlaid pouches from paulownia wood in
ivory and shell. It is reported that which he inlaid ivory and foreign
his work was widely forged even woods in various designs. He left

while he was alive. Also excelled many masterpieces. Was extremely

at painting and at haiku poetry. bold in the use of his knife yet did
The following entry is found in not spare the minutest detail. His
the Biographies of Ancient Sages of designs are often exquisite, vivid,
Mie Prefecture: “Minko Tanaka was and alive.
also known Tadamitsu or Jun-
as “Minko also excelled in painting
toku. His azana was Iwaemon. and calligraphy, following the style
Minko is his go. He was born in of Shohaku Soga. Died on August
Nakatsuge, Iga Province, in 1735. 29, 1816, at the age of 82. Buried
Was commissioned by the Tsu clan at the Rinsho-ji at his birthplace,
to do carving. His favorite materials Nakatsuge.”
were woods such as red sandalwood, According to Nakae Sadanosuke,
ebony, boxwood, black persimmon, who inherited Minko’s Buddhist
and others. Liked to carve animals mortuary tablet, 1 7 of his works of
and various fruits. Occasionally art, and Minko’s articles of daily
carved figures and various recepta- use, Minko was born in Tsuge-
cles. He contrived a Daruma so uemachi, Mie Prefecture, in 1735.
cleverly that thumping his head His tsusho was Sato Osamu. (Ac-

MASAYUKI MINKO • 261

 \1 £
2 ^ £

99. MINKO 100. MINKOKU

cording to the records of the Rin- 662. Minko fR A netsuke with

sho-ji, his name was Sato Uemon, his signature representing a badger
but must be an error.) Since
this is in existence.
he was adopted by someone living
in Nakatsuge, he might have
663. Minko |]g £E. Chomei: Minko
changed his name to Tanaka
£E. Temmei and Kansei (1781-
1800). Carved netsuke of animals,
Iwaemon. The gravestone at the
insects, and other subjects.
Amida-ji in Tsu reads: “The grave
of Tanaka Minko of Tsu, Sesshu 664. Minko Late.
Province. Died on August 29, Bun-
ka 13 [1816].” The kaimyo shown 665. Minko Some figure ne-
there is Kitokuin Ganyo Ryumin tsuke bearing his signature are in
Koji. The Gyofuku-ji, located at existence.
Kogo-ri, Kambe-mura, Naka-gun,
666. Minkoku gg Late. Ivory.
Iga was sustained by
Province,
40 bushels of rice from the Todo 667. Minkoku Go: Genryo-
family. During Kansei (1789-1800) sai T If. Chomei: Minkoku
the present main temple was built. Kansei (1789-1800). Lived in To-
In the center of the temple’s cross- kyo. Wood and Ivory. Excelled in
beam the carving of a lion is seen carving figure netsuke. His superb
and at its side the carving of an technique accorded with his great
elephant. The carvings are dated fame. See Figs. 133, 185, and 186.
Kansei 8 (1796) and marked: See mosha (No. 100).
“Shintoku Minko designed and
carved.” The writing on a small 668. Minkoku ^ Succeeded
tablet placed on the carving of a Minkoku I (B 667). Was also well

phoenix in front of the main temple known.

reads: “Early winter of Boshin
669. Minkoku UK. Go: Shokasai
—
[1808 sexagenary cycle] made by
bJ |f. Late. Metal artist.
Minko Shintoku, aged 72.” These
carvings are well known as master- 670. Minsei [llg jE. Mei: Minsei
pieces of Minko, but in view of [[|g Carved wood in the styl$ of
IE-
various discrepancies and conflict- Minko (B 661) but was more realis-
ing data further inquiry seems tic. May have been a younger
necessary. See Figs. 124 and 138. brother of Minko. Was an excellent
See mosha (No. 99). carver.

262 • INDEX OF NETSUKE CARVERS

 101. MINSEI 102. MISHU 103. MITSUHARU

671. Minsei IE. Chomei: Minsei 684. Mitsuhina )'q $§. See Gyoku-
J^IE. Middle. Ivory. See mosha yosai (B 163).
(No. 101).

672. Minseki Middle. Some 685. Mitsuhiro % Jig. Uji: Ohara

of his figure netsuke are in exist- Jz j^. Azana: Gushi H
T- Go: To-
ence.
kurinsai ^^
If or Sessado Mitsu-
hiro IjU it % Hr-
Kaimyo: Sessado
673. Minsetsu fjg if. Chomei: Min- Mitsuhiro Shinshi. Mei: Mitsuhiro
Ansei (1854-1859).
setsu gg If. % Jg Mitsuhiro kao, Mitsuhiro
,

Mainly wood. Ohara in, or Mitsu % in kao. Born

674. Minshu |I|g Late. in Onomichi in 1810. At the age of
17, went to Osaka, where he was
675. Minzan |g [ii . Early. Ivory. apprenticed to a shop engaged in
the production of plectrums for the
676. Minzan dj. Middle. Wood.
samisen and in the sale of ivory.
677. Mishu 7^ L 0 Chomei: Mi- • Learned carving by using ivory
shu ^0 5- Late. Ivory. See mo- waste. As he progressed in ability,
sha (No. 102). his name became well known in
Osaka, Kyoto, and Tokyo. Was
678. Mitsuaki % E£j. See Ishikawa
adopted by the master of the shop.
Komei (B 350).
Unfortunately he was in poor
679. Mitsuchika ^ fjg. Middle. health, and in 1857, at the age of
Ivory. 48, he returned to his birthplace,
Onomichi. Gradually recovered
680. Mitsuharu % Prior to
from his illness and again engaged
Temmei (1781-1788). Lived in
in the profession of carving. Died
Kyoto.
on August 2, 1875, at the age of
681. Mitsuharu % Chomei: 66. Was buried at Tennei-ji (Zen-
Mitsuharu % Late. Tokyo. shu sect) of Onomichi. The poem
Metal artist. Made kagamibuta on his gravestone reads: “An
netsuke. See mosha (No. 103). unusual wind has blown against
my body. Today is the day that I
682. Mitsuharu % gf . Late.
depart for the cool world.”
Wood and ivory.
A document inherited by his
683. Mitsuhide % . Middle. grandson, Hidezo Ohara, is en-
Wood. titled Takarabukuro (Bag of Treas-
 JL Ju
k

a b c

104. MITSUHIRC

ures). It reads in part: “When I poet and tea-ceremony master.

was a child I went to Naniwa This fact is entered in the document
[Osaka] in accordance with the in- as an addition. Besides the Takara-
my parents. I sought a
structions of bukuro the Ohara family has a
,

preordained relationship, found my tobacco pouch that Mitsuhiro made

master, and learned my skills from in Keio 1 (1865) at the age of 56.

him. This was my desire, to carve On ihe front he inlaid an ivory

ivory, and to make it into forms and piece in the design of a skull and
designs from my past experience: a gravestone and wrote:“The
figures, animals, birds, fish, insects, autumn wind blows. Oh! Look at
flora, and even house furniture. It the eyes!” On the reverse he inlaid
was only necessary that the design pampas grass. The ojime is inlaid
be interesting and in good taste. with buffalo horn in the design of
The carvings recorded in this docu- a crown and scepter and is in-
ment are few and inferior but scribed: “It must not be Ono
whatever I carved I recorded here- no Komachi, since pampas grass
in. That is why I call this document grows there.” The netsuke is in
Takarabukuro Forgive the poorness of
. ivory and represents a stray bit of
my work. Spring, Tempo 8 [1838], a wood and the moulted shell of a
man of Naniwa formerly residing in cicada. The mei on the netsuke
Onomichi, Ohara Mitsuhiro.” The reads: “Winter, Keio 1 [1865], old
document contains about 300 titles man Mitsuhiro Sessado-in.” He
of his carvings with short explana- also signed Mitsuhiro on the ojime
tions. Following this biographical and on the reverse decoration of
data is a record, the substance of the pouch placed the mei Sessado
which is practically the same as Shujin. This design originates from
mentioned above. The last entry in the old story of the poetess Ono no
the document reads: “Written Komachi as it is preserved in the
September 23, Taisho 10 [1921], chants accompanying the Noh play
by Ohara Tosuke at the age of Sotoba Komachi, which pictures her
79.” Tosuke was a son of Mitsuhiro, in pitiful old age.In May, 1934,
and it was he who erected his Mitsuhiro was posthumously hon-
father’s gravestone. Mitsuhiro liked ored as a master netsuke artist by
waka poem, and while living in the Osaka Prefectural Arts and
Osaka was given the name of Dai- Crafts Association. See Figs. 100
shotei Gagan by Shosho, the famous and 106. See mosha (No. 104).

264 • INDEX OF NETSUKE CARVERS

 105. MITSUNOBU 106. MITSUOKI

686. Mitsuhiro jt See Mitsu- 699. Mitsunori % 111- Middle.

toshi (B 707). Wood.
687. Mitsuhisa jfc Chomei: Mi- 700. Mitsuo % $§. Late. Wood.
tsuhisa % th* Tempo (1830-1843).
701. Mitsuoki % J|. Uji: Otsuki
Mostly ivory.
ft . Mei: Ryusai f!|f. Was a
688.Mitsukiyo Middle. metal artist. During Kyowa (1801-
Wood. 1803) visited Edo, later returning
there again. Excelled at drawing
689.Mitsukiyo jfc Middle.
Wood. scenic designs on poetry cards.
Had many pupils who became
690. Mitsukuni % M- Early. masters. Carved netsuke in box-
Ivory. wood as a hobby. His work is ex-
691. Mitsukuni % Late. Ivory. traordinarily refined. Also made
kagamibuta netsuke on which he
692. Mitsumasa % Late.
placed his mei Mitsuoki. See mo-
Ivory.
sha (No. 106).
693. Mitsumasa % IE- Came
702. Mitsusada jfc Uji: Ohara
from Edo.
Kyowa through Bunsei
694. Mitsumasa % II- Go: Goto- (1801-1829). Made figure and
ke Kyudai Teijo M M % ft U fH. mask netsuke. Skillful carver. See
Metal artist: the ninth generation Fig. 187.
of the Goto line of metal artists.
703. Mitsushige % Si- Chomei:
695. Mitsunaga % Uji: Ogura Mitsushige %
it- Kyowa through

/hjt*. Na: Koemon Bunsei (1801-1829). Carved ne-

Middle and late. Lived in Kanda, tsuke of figures, masks, and other
Tokyo. subjects.

696. Mitsunao % jjj[. Middle. 704. Mitsutada jfc JS&. Middle.

Ivory.
697. Mitsunao . Late. Mask
netsuke of his are in existence. 705. Mitsutomo % 1%.- Early.
Ivory.
698. Mitsunobu % fit- Chomei:
Mitsunobu jt fs- Middle. Wood. 706. Mitsutoshi % HP- See Hosai
See mosha (No. 105). (B 270).

MITSUHIRO MITSUTOSHI • 265

 ©

107. MIWA

707 . Mitsutoshi % ^lj. Chomei: There was also Miwa Zaiei = d

Mitsutoshi % flj. Late. Ivory. Lived His go was Kashinsai flf .

in Asakusa, Tokyo. Named Otani Excelled in drawing monkeys and

Koga. See Fig. 188. in carving. Died on July 7, 1789.

708 Mitsutsugu Late.

Cremated at the Zenkei-ji in Yo-
. dt 'fc.
tsuya, Tokyo. The Remarks on Old
Ivory.
Paintings contains an entry similar
709 . Mitsuyoshi dt Middle. to the above, and states that the
Ivory. data is quoted from the History of
710 Miwa
. H
There may have Remains. However, in view of the
been three or even four carvers who identity of names and period, and
used the signature Miwa. First other similarities, it may be that he
there was Miwa Yukan is the same individual as Miwa
whose family name was Hiromori Yukan. The third person is Miwa
Called himself Kinokuniya Rikan H
f§ %, whose biography
Shozaemon jj£
is unknown. See mosha (No. 107).

and lived in Sekiguchi, Tokyo. Was

a man of high principles. Made
711 . Miyashiro ^ f^. Given name
was Chokichi (B 53).
netsuke as a hobby but is regarded
as the originator of the Edo-style 712 . Mokubei 7k Was a fa-
netsuke. Drew his subject matter mous Kyoto ceramist. Also made
and designs from the familiar Japa- porcelain netsuke.
nese scene. Before his time, cypress
713 . Mokusui H. Early. Figure
and cedar were usually used in
netsuke of his are in existence.
carving netsuke. Since these ma-
terials were easily defaced, Miwa 714 Mondo
. Go: Tanaka
used cherry wood and toboku. Did Minosuke Ryukei T E h. 1L
not polish or lacquer his carvings. Jg. Kaimyo: Kogenjoami Anzen.
Lined the cord holes with yellow- Born January 22, 1857, in Osaka.
tinted ivory or tusk, employing He is Jocho Ho-in XXXII, the
some secret method to accomplish great sculptor of Buddhist images.
this.Did not carve ivory. Was a (Ho-in is a title limited usually to
most skillful and original artist. painters and sculptors.) Although
Lived during Temmei. Signed Mi- the imperial restoration in 1868
wa or Miwa in a seal form. See caused his family profession to suf-
Figs. 3, 68, 71. fer, with resulting difficulties in

266 • INDEX OF NETSUKE CARVERS

 £
ft
if
£
;K
ft/.

108. MONDO

meeting the daily necessities oflife, childhood. Later entered the Kyoto
nevertheless studied carving from Arts and Crafts School, from which
his father, Yasumichi iff. When he graduated with an excellent
he grew older, he carved many record and commendations. After
Buddhist images. Machida Kyusei graduating, he devoted himself to
ftp !h gave him the artist name the study of ancient sculpture to his
of Kobusshi % gji. Studied the great improvement. When the em-
art objects of old shrines and tem- press visitedOsaka, he presented
ples with his teacher, Fukuta Junyu her with a wood carving of a doll,
of Toto. This research proved very for which the mayor of Osaka com-
beneficial. Exhibited statues of the mended him in a letter. Many of
goddess of mercy and Prince Sho- his great works and masterpieces
toku at the Third and Fourth Na- are found. Carved netsuke as a
tional Industrial Exhibitions. Pro- hobby. Is living today south of
duced a considerable number of Sumiyoshi Shrine. See mosha (No.
netsuke. Occasionally made Shu- 108).
zan-style netsuke. Almost all the
716. Morikane ggJiU. Middle.
netsuke exported abroad as Shuzan
netsuke are his work. Was high- 717. Morikazu — . Chomei: Mo-
spirited, waggish, and unconven- rikazu £jf
— Tempo
. (1830-1843).
tional. Carved the wooden images Mostly wood.
of Jizo, the guardian saint of Morimitsu Middle.
718. yp
children, of Kiyoshi Kojin, and the
White-Robed Kannon found at the 719. Morinobu yf ff§. Late.
Three Famous Beauty Spots of
720. Morinobu g£. Some ne-
Japan. Liked to draw Buddhist
tsuke bearing his signature are
images. Was extraordinarily artistic
found.
in coloring his work. Died on March
10, 1917, at the age of 61. 721. Moritoshi HL See Kosai
(B 543).
715. Mondo Jr yfc. Chomei: Mondo
722. Moritsugu Early mid-
kakihan. Called himself Jokei Ta-
dle. Wood.
naka. Until March 1917, he used
the mei Tekisui. Succeeded Mondo 723. Motochika Some ne-
(B 714) as Mondo XXXIII. Was tsuke bearing his signature are
taught carving by his master from found.

MITSUTOSHI MOTOCHIKA •
267
 *
*!
109. NAOHARU

724. Motonobu jc fg. Early. 738. Nagayuki H; fy. Chomei: Na-

725. Mugai ^ Early middle.
gayuki ^
fy Ansei (1854-1859).
.

Usually worked in wood.

Wood.
739. Namboku Early mid-
726. Muhachi ^ A. Middle. dle. Wood and ivory.
727. Munechika ^ Late.
740. Namichika jlf. Some ne-
Wood.
tsuke bearing his signature are
728. Myochin ty] A metal artist. found.

729. Myogaya Seishichi ^ M 741. Nansai ^ . Late. Some

^ -E. See Seishichi (B 930). figure netsuke of his are found.

742. Naoharu [£ Go: Onkokan

-N- ii ]£* H- Tomyo: Benzo pg. Cho-
mei: kakihan based on Yanagawa
730. Nagamitsu Go: Ko-
Naoharu. Kansei through Bunka
sensai % fill Ilf. Middle.
(1789-1817). Lived in Kanda, Edo.
731. Nagamitsu Chomei: Son of the metal artist Yana-
Nagamitsu ^k %. Early. Mostly gawa Naoyue #P J jit Usually
1
1

wood. See Fig. 96. called Koheiji /Jn T- which he

later changed to Sanzaemon H
732. Nagao Ta-ichiro HH TfT
% PT His technique was much
gft. See Ta-ichiro (B 1152).
superior to that of his grandfather
733.Nagasada ^k Middle. Naomasa jit J&. Trained many
Wood. pupils, among whom Kono Shum-

734. Nagasada JU|. Late.

mei M If # §8 was one of the best.
Occasionally made kagamibuta
735. Nagataka 4| Named Ko- netsuke. See mosha (No. 109).

ami ^ PpJ Made gold-lacquer 743. Naohide ]![ Late. Wood

netsuke. and ivory.

736. Nagatsugu 'fc. Middle. 744. Naokata jg; jj. Chomei: Nao-
Ivory. kata U Jj- Tempo (1830-1843).
Mainly wood.
737. Nagayoshi ^k Chomei:
Nagayoshi 7k itf. Keio (1865-1867). 745. Naokazu — Late. Mostly
flt[ .

Wood and ivory. wood. Game from Nagoya. Good

268 • INDEX OF NETSUKE CARVERS

 • .

110. NAOKAZU 111. NAOMASA 112. NAOYUKI

at carving netsuke in the design of of 65. Buried at the Seiren-in, Ten-

small-change coppers. noji, Osaka.

746. Naokazu jjf[

— . Go: Koryusai 752. Naosada jf[ Early. Some
jfc tl W' Chomei: Naokazu jj§[
— or netsuke are found that bear his
kakihan based on Koryusai Nao- signature.
kazu. Tempo (1830-1843). Wood
and ivory. Mainly figures. See 753. Naoshige y|C /^. Early mid-
dle. Ivory.
mosha (No. 110).

747. Naomasa jjf[ Late. Wood. 754. Naoyuki jj=[ If. Early. Wood.
Called himself Shibayama pj
748. Naomasa yH IE. See Koge-
tsusai (B 509). 755. Naoyuki fnj ff. See Ritsuo
(B 826).
749. Naomasa [HIE. Uji: Yama-
756. Naoyuki Chomei: Nao-
moto |JUYasuhira JVa: £^ jit

yuki it ff. Late. Lived in Osaka

ff •

Chomei: Naomasa ji[ IE. Born on

until his middle years, when he
July 20, 1908, in Yamada, Ise.
Apprenticed to a kitchenware shop moved to Nara. Carved netsuke and
in Fukiage. Entered the school of other objects. Excelled at carving

Masanao III (B 614). Carved ne- deer. See mosha (No. 112).

tsuke of animals and figures. Pre- 757. Natsuo

jl Uji: Fushimi
ferred to use the boxwood found in Na: Jisaburo
JIL. l|5. Chomei: H
Asakuma Mountain. See mosha Natsuo in hiragana (cursive form
(No. 111). of Japanese syllabary). Born April
11, 1828, in Yamagi Province. Was
750. Naomitsu jg jfc. Go: Baiho-
adopted by Jisuke Kano. In 1840,
sai |jf. Early middle.
entered the school of Koju Ikeda,
751. Naomitsu jit jfc. Uji: Murata a metal artist of the Otsuki school.
ft Na: Masajiro
P3. gfl. Go: ijjfc Natsuo adopted the go of Juro ip
Isseisai ]I& —
Born in December
. g|5. Made great progress in metal-
1867 at Osaka. Became a pupil of craft. Taught by Koju for three
Ichiyusai Naoharu (B 317) of To- years. Subsequently applied the
kyo and studied carving. First of the Shijo Maruya-
realistic style
carved in coral, later in wood and ma school to his art. Studied fine
ivory, making many netsuke. Died examples of the various schools of
on February 22, 1931, at the age metal art. Finally originated his
 1 7J

113. NATSUO 114. NISAI

own school. Learned calligraphy netsuke that bear his signature. See
from Tanematsu Tanemori and Fig. 36.
painting from Raisho Nakajima.
At the age of 25 went to Edo and
762. Nisai n Chomei: Nisai zi
Born in 1880 in Yamatoshim-
changed his name to Natsuo. At
machi. Called himself Yoshimoto
that time metal artists were not in
favor, and it is said that he had
Yahei lij ^ Was adopted at
the age of six by Gyokusen Yoshi-
difficulty in earning a livelihood.
moto (B 157), a pupil of Reigyoku
During the early part of Meiji,
Tanaka (B 813). Learned the Shi-
was commissioned to create de-
bayama style of inlay from his
signs for gold coins. Also commis-
father. Went to Tokyo at the age
sioned by the Imperial Household
of 1 8 to become a pupil of Reigyo-
Department to carve the decora-
ku Tanaka, his father’s teacher.
tions for the emperor’s sword. Was
Later resided in Kyoto and Osaka.
an examiner for various exhibi-
After the age of 50 he devoted him-
tions.In 1890, became a professor
self to carving netsuke and tea-
at the Tokyo Art School. Occa-
ceremony articles out of boxwood.
sionally carved kagamibuta ne-
See mosha (No. 114).
tsuke. Died on February 3, 1898,
at the age of 71. See Fig. 10. See 763. Nobuaki $i£ $c. Late. Wood.
mosha (No. 113).
764.Nobuchika fff Late.
758.Negoro Soshichi M 7H d;. Wood.
Many wood carvings using a com-
bination of red and black lacquer 765.Nobuhide ff Early.
are to be found. See Fig. 172. Wood.

759. Niko m %. Made splendid 766. Nobuhisa fff Early.

wood carvings in the style of Kai- Wood.
gyoku (B 428). May have been a
pupil of Ikko (B 330).
767.Nobukatsu ft J$. Middle.
Wood.
760. Ninraku fz $|. Born in 1843.
Called himself Naito Kimeisai |*j H 768. Nobukazu fff
— . Early.
Wood.

761. Ninsei fziflf- Was a famous 769. Nobukazu fff f|p. See Hattori
Kyoto ceramist. Made porcelain (B 199).

270 • INDEX OF NETSUKE CARVERS

 :*

770. Nobukiyo fg Early. Prince Takatomo. Was proficient

Wood. in carving and made netsuke. His
designs and technique surpassed
771. Nobumasa fg IE. Middle.
ordinary artistry. Also made Hina
Wood and ivory. See Fig. 189.
dolls, which he sold, thereby earn-
772. Nobumitsu fg jfc. Late. Ex- ing the popular name of Hinaya
celled in wood carving. (doll maker).

773. Nobumoto l|[ tg. Lived be- 780. Norikazu |[lj — . Uji: Kata-
fore Temmei (1781-1788). yama ft [I[. JVa: Sennosuke ^ |j[j.

774. Nobunao ft jit. Uji: Koba- Late. Was a pupil of Masaka (B

yashi /J> Late. 592). Lived in Kyoto. Was a carver
of rosary beads (juzu) . Carved ne-
775. Nobuteru fg BS. Late. Some tsuke in his spare time.
netsuke that bear his signature are
in existence. 781. Norishige J(IJ 1g. Tempo
(1830-1843), but in the opinion of
776. Nobu-uji fg H:- Go: Ichirinsai
Kyuichi Takeuchi he worked from
-'ll If- Middle.
Anei through Temmei ( 1 772—

777 . Nobuyoshi fg jpg. Chomei: No- 1788). Wood and ivory. His designs
buyoshi fg fg. Keio (1865-1867). are unusual and in fine taste. Came
Wood. from Edo.

778. Nobuyuki fg ff . Middle.

Wood. O-
779. Nonoguchi Ryuho if & P it 782. Ogasawara Issai /fi H—
gH. Uji: Nonoguchi JVa: Chi- Hf. See Issai (B 352).

kashige ^ J|. Go: Sho-o Died

783. Okakoto |f . Tempo
on September 30, 1669, at the age
(1830-1843). Came from Kyoto.
of 75. Galled himself Shozaemon
Was a pupil of Okatomo (B 784).
££ IS. % of Beniya. Came from
Excelled at carving animals. There
Hozu, Tanaba. Studied drawing
is a netsuke of Okakoto signed
with Tanyu. Developed an ap-
“80 years old.”
preciation of Sotatsu, whose style
influenced his work. Also studied 784. Okatomo [®] Uji: Yama-
haiku with Teitoku, waka with guchi \1]P Chomei: Okatomo f^l fc.
.

Mitsuhiro, and calligraphy with Before Temmei (1781-1788). Lived

NEGORO OKATOMO • 271
 N
I*
(jkl

115. OKATOMO 116. OKATORI

in Higashiyama, Kyoto. Carved 791. Raku Member of a family

netsuke of flowers and of small of ceramists named Raku. As his
living things. Excelled at carving hobby, made netsuke in Rakuyaki
monkeys and quail on millet. His (hand-molded earthenware).
designs and technique are excellent.
Preferred ivory and Japanese oak
792. Rakueisai ^ . Late.
Ivory.
(isu) as his material. See Fig. 206.
See mosha (No. 115). 793. Rakuhyo Rojin A-
785. Okatori [g] Chomei: Oka- Chomei: Rakuhyo Rojin. Keio
tori Temmei through Kansei (1865-1867). Wood.
|g]

(1781-1800). Born in Kyoto. Was

a younger brother of Okatomo
794. Rakumin ^ ££. Go: Ichiyo-
(B 784). Studied carving with Oka-
sai ^ Hf. Ansei (1854-1859). See
Fig. 204.
tomo. Carved in ivory. Was good at
carving animals. See mosha (No. 795.Rakumin ^ gg. Go: Jitoku-
116). sai g#if. Koka (1844-1847).
Came from Tsuchiura. Granted
786. Okinatei ^ 5^. Middle.
title of hogan.
Ivory.
796. Rakuosai EE If. Chomei:
787. Osai ^ . May be the same §£§

artist as Okinatei (B 786).

Rakuosai ^ 3E If. Kyowa through
Bunsei (1801-1829). Ivory and
788. Otoman ^ i|j. Chomei: Oto- wood. Carved netsuke of figures,
man ^
$g. Middle. Came from animals, and other subjects.
Hakata, Kyushu. Ivory and wood.
Was a dealer in obi but at last 797.Rakushiken ^ R $f. See

secured fame as a carver. Excelled Gyuka I (B 167).

at carving tigers. See Figs. 190
and 218.
798. Rakushiken ^ ^f. See
Kyusen (B 578).
789. Oto-o ^ Early. Some of
(Rakuyeisai: see Rakueisai.)
his animal netsuke are in exist-
ence. 799. Rakuyu ^ $£. Late.

800. Rakuzan Carved Uji

R- dolls.
fij.

Occasionally used camellia

790. Raku *j!|. Early. Ivory. wood.

272 • INDEX OF NETSUKE CARVERS

 117. RANSEN 118. RANTEI

801. Rammei jjj|j 58 . Early mid- Province but lived in Kyoto. Mainly
dle. Ivory. ivory.Was an openhearted char-
acter. Regarded as an expert carv-
802. Rangyoku jijj 3£. Early.
er.His work reached perfection.
Ivory.
Carved netsuke of animals, flowers,
803. Ran -i chi |fjj
— . Chomei: Ran- birds, landscapes, and other sub-
ichi |fj|
— . Kansei (1789-1800). jects, but was best at figure carving.
Ivory. Made excellent animal ne- At the request of Prince Ninnaji,
tsuke. Was a pupil of Rantei (B made a nut carving of 1,000 mon-
812). keys so tiny that the individual

804. Ranju ig. Middle. Ivory. monkeys could not be seen with
jfg
the unaided eye. Was at last
805. Ranko ft. Early middle. awarded the title of hokyo. See
Ivory. Figs. 102 and 104. See mosha (No.
806. Ranrinsai HHf. See Shu- 118).

zan (B 1094). 813. Reigyoku ^ 3*. Uji: Tanaka

807. Ranseki jf|[ Early middle. [5 T- Go: Hoshinsai H (g Late.

Ivory. Ivory. Lived in Nippon, Tokyo.

814. Rekisai 1/ ^ f Middle. .

808. Ransen ffjfj J||. Chomei: Ran-
There are netsuke that bear his
sen jf|f J||. Middle. Ivory. Was a
signature.
pupil of Rantei (B 812). Mainly
carved animal netsuke. See mosha 815. Rekizan gg flj. Uji: Yoda #
(No. 117). 15. Na: Jimbei fn ^ #j. Tomyo:
Senkichi £. Go: Rekizan gg flj.
i\\\
809. Ranshi Middle. Main-
jf|
Go: Kingendo & 3^. Died on
ly ivory.
November 7, 1908, at the age of
810. Ranshu H ff. Chomei: Ran- 69. Liked painting from childhood
shu ^§F.
jf|jTempo through Keio and was good at it. Also composed
(1830-1867). Wood and ivory. excellent waka, using the name of
Shigeki. Loved carving more than
811. Ransui H Early late.
anything else. Mainly carved small
Ivory.
pots and netsuke. His family was in
812. Rantei H Uji: Nagai H the tool business, and he had only
4L Chomei: Rantei ffg Kansei his spare time for painting, poetry,
(1789-1800). Came from Izumo and carving as his hobbies.

OKATORI REKIZAN •
273
f

119. RENSAI 120. RYO

816. Ren See Rensai (B 818). 827. Riyo $ $. Middle.

817. Rendo ^gt ^ . Kurauchi
Uji: 828.Rosetsu H ff. Middle.
^ p*g. Late. Game from Shizuoka Wood.
but removed to Asakusa, Tokyo.
829. Roshu jg Middle. Lived
818. Rensai ^ |jf . Uji: Ishikawa in Asakusa, Tokyo. Called himself

Tf Jl|. Chomei: Rensai ^gt Re- Seiryu-un j| fg f|. Excelled at

nounced the headship of his family carving tsuishu lacquer.
in 1876. Wood, ivory, and horn.
830. Ryo £j£. Uji: Kawahara
See Fig. 78. See mosha (No. 1 19).
Chomei: Ryo to W.71- Late. Mainly
819. Rensai ^
Uji: Ishikawa ivory. Came from Tokyo. Was an

^ )\\. Kakujiro ^
JVa: g|$. Was excellent carver. See Fig. 192. See
a son of Rensai (B 818). Lived in mosha (No. 120).
Asakusa, Tokyo.
831. Ryogyoku ^3 £. Middle.
820. Rikan flj %. Go: Miwa H ft- Wood.
Early. Wood.
832. Ryo-ichi ^— . Middle.
821. Rikyo Late. Wood. Wood.
822. Rimu Middle. 833. Ryo-ichi — . Middle.
Wood.
823. Rinji 'fa. Early.

824. Risui H tK- Early. Wood.

834. Ryoji Uji: Ono T
Middle. Wood, ivory, and horn.
825. Rito H See Tomiharu
$[<. (B
835. Ryoko ^ jfc. Late. Ivory.
1191).
836. Ryoko ^ J|f . Middle. Ivory.
826. Ritsuo §£ ^j. Go: Ogawa
Haritsu
Naoyuki
/bjll$£3£, Kanshi
and
IT 837. Ryomin H Jib
Late. Ivory. See Figs. 18
Uji: Ono /\s
and 213.
if.

j£j ff, others. Chomei:

Haritsu makie $£ ft or kan-in ^ 838. Ryomin ^ 3K- Late. See Fig.
on an inlaid ceramic plaque. Early. 208 .

Was a famous carver and gold

lacquer artist. Excelled at ceramic 839. Ryomin ^ Jib Middle. Ivory.
inlays. 840. Ryosai ^ Hf. Middle. Ivory.

(Riusai: see Ryusai.) 841. Ryoun ^ §|. Late. Ivory.

274 * INDEX OF NETSUKE CAR ERS

 :

842. Ryozan dj. Uji: Matsu- 849. Ryuho & Late. Wood.
moto Na: Kimbei %. &£ 850. Ryuho See Nonoguchi
Ansei (1854-1859) through early
Ryuho (B 779).
Meiji (1868-1911). Lived in Kan-
da, Tokyo. Was a carver of Bud- 851. Ryuho $p |f. Some netsuke
dhist images.Ryozan habitually bearing his signature are in exist-
attended at the ceremonials and ence.
exhibits of the Narita Temple in
852. Ryukei f| Chomei Ryu-
order to view the famous statue of
Fudo-myo-o (God of Fire). Carved
kei M&- Koka through Keio
(1844-1867). Game from Kyoto
images of Fudo-myo-o all his life.
but later moved to Tokyo. Learned
Was therefore often called Fudo ivory carving from Hokei (B 245)
Kimbei. Granted the title of hokyo.
and decided to become a profes-
843. Ryuchin or Ryuchinsai f| sional netsuke carver. Used the go
^ or §| ^ |ff. Go: Gyokuhosai 3£ 51 of Shinshisai jjf$ T If, but some
If. Keio through Meiji (1865- people incorrectly say Shinryosai
1911). Full name was Yamada #T Studied the tinting of
Bunjiro \U £[$ though there is ivory, which he adapted for netsuke
another opinion that his name was carving. Made both small and large
Ganjiro jc ||5. Was the pupil of netsuke. His designs are unusual,
Ryukei (B 852) and the teacher of and his carving is sharp. Taught
Kogyoku (B 513). many pupils. Awarded the title of

844. Ryuchokusai hokyo.

$g Jit |f . See
Masahiro (B 589). Ryukei
853. Ji. Lived in Edo.
845. Ryuei fi Late. Ivory. Gold-lacquered his wood carvings.

846. Ryugyoku f| 5. Kansei 854. Ryukei pi ££. Late. Wood.

through Bunsei (1789-1829).
855. Ryukei f| Late. Some
Carved netsuke of figures, subjects
netsuke are found that bear his
indicating thunder and lightning,
signature.
masks, and other subjects.

847. Ryugyokusai $p 3E if. Late.

856. Ryukoku f| Late. Ivory.

848. Ryuheisai pj|

Ap |f . Uji: Asa- 857. Ryukoku Uji: Kiku-
da ^ g. Late. Ivory and tsuishu. gawa )\\. Middle. Mainly horn.
Lived in Kyoto. Carved figure netsuke.

REN RYUKOKU • 275

 A

121. RYUMIN 122. RYURAKU

858. Ryukosai ft jfc ff. Middle. 869. Ryuraku f| *j|. Chomei: Ryu-
Ivory. raku Early. Carved small
mask netsuke and other subjects.
859. Ryukosai §1 |f. See Ju-
See mosha (No. 122).
gyoku (B 408).
870. Ryusa jf| Before Temmei
860. Ryukosai f| % Iff. C/jfV: Sasa (1781-1788). Lived in Edo. Was a
felE. Middle. See Fig. 200. lathe worker. Produced netsuke
that could be used as ash trays.
861. Ryumin IJ£. Uji: Ono /fi

if. JVa; Mataemon X PT Late. 871. Ryusa f| Go: Gyokugasai

Was a pupil of Rakumin (B 794). 3E ^ . Middle. There is a netsuke
There is some opinion that he is the of his signed: “71 years old.”
same man as Ryumin (B 863). See 872. Ryusai Middle. Wood.
|f.
Fig. 15.
Masks.
862. Ryumin f| ££. See Ryumin 873. Ryusai f| . Early.
(B 861).
874. Ryusai f| . Uji: Otsuki N.
863. Ryumin f| Uji: Kimura Na: Mitsuoki
.
f|. Chomei: %
7k Na: Kinroku 7k. Was a Ryusai |jf. Kyowa (1801-1803).

pupil of Ryukei (B 852). Also did Was a metal artist. Visited Edo but
metal carving. There is some opin- later returned to Kyoto. Was an
ion that he is the same man as excellent painter and was con-
Ryumin (B 861). sidered an expert in decorating
poem cards (tanzaku). Had many
864. Ryumin |i|g. Middle.
pupils. Carved superb boxwood
Made netsuke of figures, masks and
netsuke as a hobby.
other subjects. See Fig. 94.
875. Ryusai it Iff. Uji: Sano If.
865. Ryumin m J£. Late. Na: Tokuemon ^ fT Died
in early Meiji (1868-1911) when
866. Ryumin it Js;. Chomei: Ryu- stillyoung. Carved ivory, wood,
min kao it ft Late. Tokyo.
horn, and bamboo. At one time
.

Metal artist. Made kagamibuta studied under Hosai Oishi (B 270)

netsuke. See mosha (No. 121).
but later resorted to copying master-
867. Ryuo pieces and made great technical
f| 3E. Early middle.
progress. Excelled in relief carving.
868. Ryuosai f| EE Hf. Middle. Had a graceful and distinctive style.
276 • INDEX OF NETSUKE CARVERS
876. Ryusei Early. Wood. 890. Sadayoshi ^ Early mid-

877. Ryusen Early. Wood.

dle. Wood and ivory.
Jl|.

891. Saigyoku gf 3£. Chomei: Sai-

878. Ryusen f| fpl]. Uji: Horiuchi
gyoku gf EE- Tempo (1830-1843).
#§ p^|. Died in early Meiji ( 1 868—
Mainly wood.
1911). Was the teacher of Kyuichi
Takeuchi (B 575). 892. Saishi -jf Early. Wood.
879. Ryushatei 2^. Carved 893. Sako jfc. Early. Ivory.
figure netsuke. Came from Tamba
894. Sancho Jj^. Early. Wood.
but lived in Edo and Kyoto.
895. Sandai H ft- Early.
880. Ryushinshi $$ L' =f. Early.
Metal artist. 896. Saneo y| $£. Late.

Ryusho 897. Sangetsu Early. Wood.

881. |§. Some netsuke
.

bearing his signature are found. Carved large-size netsuke.

882. Ryusho #. Middle. Ivory.

898. Sangoku H US- Go: Sessai If
|f. Middle. Wood.
883. Ryu-un f| fg. See Roshu (B
829).
899. Sanko H
/fi. Before Temmei

(1781-1788). Lived in Osaka. Was

884. Ryuzan fi fij. Late. Ivory. an excellent carver. Called himself
Kohei.
-S- 900. Sanko H jt- Chomei: Sanko
885. Sada-aki ^ f3pj. Late. Wood. H jfc- Anei through Temmei
(1772-
1788). Carved figure netsuke. Was
886. Sadakazu ^— . Chomei: Sa- particularly good at portraying
dakazu ^ . Keio (1865-1867). Benkei.
Painted his carvings.
901. Sanraku |±| Early and
887. Sadanaga fa Early. middle. Wood and ivory.

888. Sadatoshi ^ flj. Chomei: Sa- 902. Sansha H Early.

datoshi ^ ^lj. Tempo (1830-1843).
903. Sansho Uji: Wada fp
Mostly wood.
jg. Go: Kokeisai ^ Chomei:
889. Sadatsugu Early. Sansho H ^ or Kokeisai Sansho
Ivory. jg| |f H %. Born on November 6,
RYUKOSAI SANSHO •
277
 i

123. SANSHO 124. SEIKEI

1871, in Minami-ku, Osaka. Origin- 912. Seigyu 4^* Uji: Sagano

al givenname was Genjiro gg £|$, if. Late. Lived in Osaka. Carved
which he later changed to Yataro mask netsuke but rarely signed
51 £|$. Was a pupil of Dosho (B them.
89) Carved in wood and ivory and
.

also did Shibayama-style mosaic.

913. Sei-ichi ^ . Middle. Ivory.

Died on July 20, 1936. See Fig. 105. 914. Seiju ftp. Some netsuke that
See mosha (No. 123). bear his signature are found.

904. Sansui |i| y^. Late. Ivory. 915. Seikei IE H. Uji: Kojima /]»

Hf- JVa:Kuwajiro gfc g[$. Chomei: n

905. Sari ^ M- Chomei: Sari M* Seikei IE ||. Born about 1877.
Temmei and Kansei (1781-1800). Came from Nagoya. Learned carv-
Wood. Excelled at carving toads ing as a pupil of Masakazu (B 596)
and molluscs but also carved other and Masaka (B 592). See mosha
animals and shells.
(No. 124).

906. Seibei ^^ $Sf. Before Tem- 916. Seiko # tC. Early.

mei (1781-1788). Lived in Kyoto.
917. Seiko Uji: Matsu-ura
Did excellent wood carving. His
work was referred to as Seibei carv- $J. Late. Mainly ivory. Came
ings. Since his work was famous,
from Osaka. Was a pupil of Nao-
mitsu Murata (B 751).
there were many forgeries.
918. Seiko IE %. See Kikugawa
907. Seiboku ]E f. Chomei: Sei-
(B 484).
boku IE f. Middle. There are fox
netsuke in wood bearing his signa- 919. Seiku Rfjf Late.
ture.
920. Seikyo ^ Some netsuke
are found that bear his signature.
908. Seifushun 'g See To-
miharu (B 1191). 921. Seimin ^ j^;. Middle. Ivory.

909. Seiga ^ $£. Middle. Wood. 922. Seimin jl& J£. Late. Ivory.

910. Seigyoku 3£. Late. Some 923. Seimin J£. Uji: Okawa -fc

of his netsuke of children are in JI|. JVa: Mankichi ^ Go: Ikko-

existence.
sai — m
*
. Middle. Lived in Hon-
jo, Tokyo. Was a pupil of Rakumin
911. Seigyoku 3£. Late. Wood. (B 794).

278 • INDEX OF NETSUKE CARVERS

924. Seimin [If Chomei: Seimin IE 'J'H . Tempo (1830-1843). Mainly
0# J£. Azana: Kaeru Seimin 0# f£. ijg: wood.
Early Meiji (1868-1911). Ivory.
933. Seisui Early. Wood.
Lived at Yotsuya, Tokyo. Especial-
Figure netsuke.
ly good at carving red frogs,which
is the reason that he was nicknamed 934. Seiun ^ f| . Middle.
Kaeru (frog) Seimin. (Some people
write his name 0fjf g£.)
935. Seiyodo # §§ Ig*. Tomiharu
(B 1191) was the first of this line.
925. Seimin flfjf g. Go: Ghounsai There were three generations of the
Hi If Tempo
. through Keio Seiyodo family. Some pupils also
(1830-1867). Was a good carver. adopted the name of Seiyodo.
926. Seimin 0# fj£. Same as Sei- 936. Seizan 0f dl- Late. Ivory.
min (B 925).
937. Seizan ff- dl- Late. Ivory.
927. Seisei m . See Mingyoku
(B 658). 938. Seizui ]I& |§j. Uji: Hamano ^
if. Chomei: Seizui PsJ. Died on
928. Seisetsu IE See Chogetsu October age of
26, 1769, at the 74.
(B51). Was a metal artist, a pupil of Toshi-
Nara Developed a new
929. Seishi ^ Middle. Ivory. hisa ^lj f| .

and refreshing carving style in-

930. Seishichi -fc;. Uji: Myoga- corporating powerful use of engrav-
ya ^ iof it- Before Temmei (1781 — ing tools. In turn, various branches
1788). Lived near the Nishihon- stemmed from Seizui’s style. Also
gan-ji in Osaka. Was a frieze carved netsuke in wood as a hobby.
carver. Also carved netsuke. Liked His designs are original, and the
to do elaborate carving but also did carving indicates a thorough train-
simple carvings which were excel- ing and refinement.
lent.
939. Sekiho ^ Go: Yukodo [^|

931. Seishinsai ^ . Go: Ik- High Tempo (1830-1843). Mainly

kei — Chomei: Seishinsai Ikkei ivory. Lived in Honjo, Tokyo. Was
Q — $§. Early. Wooden ne- good at carving in theround and
tsuke of hermits that bear his signa- at perforated or openwork carving.
ture are found.
940. Sekiho Chomei: Sekiho
932. Seishu IE 4H . Chomei: Seishu in Tf % RL Was a pupil of Sekisen

iSANSUI SEKIHO •
279
 Iill

ill

125. SEKISAI 126. SENTSU

(B 947). Studied the ancient masks of Masakazu, where he studied

at Nara. Made pottery mask ne- until the death of his teacher.
tsuke in Onko ware. Carved a okimono which was
figure
exhibited at Chicago. Died shortly
941. Sekiju ^ Up. Early. thereafter in Osaka. His work is
942. Sekio ^ Early.
0}j. rarely found but is excellent.

943. Sekio ft flg. Some netsuke 950. Sen-ichi ^— . Middle.

bearing his signature are found. Ivory.

944. Sekiran ft Stf Middle. Ivory. 951. Sento Uji: Yoshioka

945. Sekiran ft fff. Died in early

[SI]. Na: Kosaburo /fi H £[$. Mid-
dle.
Meiji (1868-1911). Came from
Minato, Mito. Carved shrines and 952. Sentsu {[1] 3®. Chomei: Sentsu
netsuke. The statue of Inari, the j® 3®. Bunsei (1818-1829). Wood.
god of the rice harvest, owned by See mosha (No. 126).
Monzaburo Kasama in Hitachi, is 953. Senzo ^ jjgg. See Senzo (B
his work. 954).

946. Sekisai ft |ff . Mei: Sekisai 954. Senzo {® j|£. Anei (1772-
ft |ff. Late. Made Rakuyaki 1780). Named Onogi Senzo if 7^
(earthenware) netsuke. See mosha He. Was a farmer at Shibayama,
(No. 125). Shimofusa-no-kuni. During Anei he
developed the mosaic technique of
947. Sekisen ft f®. Chomei: Seki-
inlaying shells and pearl. Later
sen in ft f® £p. Engaged in the pro-
added coral, ivory, and other ma-
duction ofOnko ware at Akasaka,
terials in addition to shells and
Mino. Also made porcelain mask
The technique he created is
pearl.
netsuke.
now widely known as Shibayama-
948. Sekishu ft jfr. Early middle. bori (Shibayama carving). Senzo
949. Sekka
if #4 Uji: Shima J|.
.
moved to Edo and changed his
Meiji (1868-1911). Was a son of name to Shibayama Senzo ^ |JU I®
Sessai (B 955). Came from Echizen. M- See Fig. 69.
Was a carpenter. So captivated by 955. Sessai If Uji: Shima J|.
the sight of some carvings of Masa- Chomei: Sessai If |jf or Hokyo Sessai
kazu (B 596) in 1888 or 1889 that fli if Hf. Died in 1879 or 1880 at

he immediately entered the school the age of 59. Came from Mikuni,

280 • INDEX OF NETSUKE CARVERS

 . .

127. SESSAI

Echizen. Served the lord of the Shigechika ]g Tempo through

Echizen clan. Granted title of ho- Keio (1830-1867). Mainly wood.
kyo. An excellent carver who ex- Carved animal netsuke.
celled in carving snakes. See mosha
963. Shigehide Jl Early.
(No. 127).
Wood. Figure netsuke.
956. Sessai ff . See Sangoku (B
964. Shigehiro |g gf. Late. Ivory.
898).
Figure netsuke.
957. Setsu Sf May be an ab-
breviated name
.

or the name of a
965. Sliigekado H P3- Middle.
Wood. Animal netsuke.
female carver. The true facts are
uncertain. 966. Shigekatsu Jj^. Early mid-H
dle. Carved netsuke in wood repre-
958. Setsuju If |p. Early. Wood. senting long-nosed tengu (demons)

959. Setsutei If 2^. Uji: Sasaki ^ 967. Shigekazu — . Some ne-

A Late. Was a pupil of Sessai tsuke that bear his signature are
(B 955). found.

960. Setsutei If 2^. Uji: Naka- 968. Shigemasa H IE. Kyowa

nishi T W- Go: Rokko ^ . Carved through Bunsei (1801-1829).
in ivory for export. Was a pupil of Wood and ivory. Carved netsuke
Sekka Shima (B 949). Lived in of figures, animals, and other sub-
Nakayama but later moved to jects. Excelled at carving snails.
Ashiya. Was a teacher of the Ohara See Fig. 195.
school of flower arrangement.
969. Shigemitsu JJ %. Mei: De-
961. Shibayama \i\. The name me g Early middle. Carved
.

Shibayama developed into a generic mask netsuke. Signed the mei of

term applied to the technique of Deme tfl g
encrusting a carving with various
970. Shlgenaga 31 fa. Early.
materials in a mosaic pattern. The
technique was developed by Senzo 971. Shigeru /%. Some netsuke
Shibayama (B 954). Nevertheless, bearing his signature are found.
the word is still used as though it May be an abbreviated mei.
were a family name. See Fig. 69.
972. Shigetsugu Ig Middle.
962. Shigechika Ig ||. Chomei : Ivory.

SEKIJU SHIGETSUGU • 281

 128. SHOGEN 129. SHOHOSAI

973. Shigeyoshi H Jg. Early mid- 984. Shiyu fir Late. Carved
dle. Wood. some figure netsuke.

974. Shigeyuki Ig Uji: Saito 985. Sho #. Some netsuke bearing

Na: Kintaro Late. his signature are in existence. May
Lived at Shitaya, Tokyo. Was a be an abbreviated mei.
pupil of Harushige (B 196). Good
986. Shogen IE :£• Chomei: Sho-
at carving flowers and insects.
gen yaki-in IE £ ffl. Was a bam- ^
975. Shigyoku ^ 3£, Middle. boo craftsman of Kyoto. His family
Some netsuke that bear his signa- held one of the seven positions in
ture are in existence. the Senke school of the tea cere-
mony for several generations.
976. Shikotsu T #. There are
Mainly carved tea-ceremony arti-
some netsuke that bear his signa-
ture. cles but also bamboo netsuke. See
mosha (No. 128).
977. Shin-ichi y| — . Middle.
Wood. 987. Shogetsu Jg|| ft . Middle.
Ivory. Carved oni netsuke.
978. Shinke'sai y| ffc . Chomei:
Shinkeisai 0| ffc Tempo through
.
988. Shogetsu ft . Chomei: Sho-
Keio (1830-1867). Wood and getsu ^2: ft • Bunsei through Tempo
ivory. Usually carved figure ne- (1818-1843). Staghorn animal ne-
tsuke. tsuke. See Fig. 52.

979. Shinsai (g Hf. Middle. Ivory. 989. Shogyoku IE 3£. Chomei: Sho-
gyoku IE 3£. Kansei (1789-1800).
980. Shinsai y| Late. Wood.
Ivory. Figures and oni.
981. Shinshisai Chomei:
Shinshisai f. See Ryukei (B
.

990. Shohosai IE H . Chomei:

Shohosai IE JH • Late. Ivory. See
852).
mosha (No. 129).
982. Shitoku T- #• Chomei: Shi-
toku T- #. Middle. Carved some
991. Shojosai ^& |£f. See Shura-
ku (B 1077).
boxwood netsuke oflotus leaves and
turtles. 992. Shoju ;|gf.
Middle. Nuts.

— Carved Daruma netsuke.

983. Shitsu-ichi &b Some ne- .

tsuke are found that bear this signa- 993. Shoju I H Uji: Oka-
ture. no |®Jif. Na: Heiuemon Hr

282 • INDEX OF NETSUKE CARVERS

 130. SHOJU IX

P^. Died on August 10, 1708. Lived 1001. Shoju IX I£ ap % ft. Chomei:
in Nara. Carved objects from Shoju IS ftp. Full name was Oka-
cypress of Iyasuga. no Heizaburo [S] if gft, ^H
but
true na was Hohaku. Was a young-
994. Shoju II ^ f| zi ft. Succeed-
er brother of Shoju VIII (B 1000).
ed Heiuemon Okano (B 993). Died
Made improvements in the carv-
on October 2, 1734.
ing of Nara dolls. In addition
995. Shoju in Suc- carved incense boxes in the design
ceeded to the name as the third of deer. Died on September 10,
generation. Was an excellent carv- 1824, at the age of 71. See mosha
er. Died on October 9, 1738. (No. 130).

996. Shoju IV R3 fV Suc- H 1002. Shoju X Cho-

ceeded to the name. Date of his mei:Hokyu -ft. Full name was
death is uncertain. Okano Mampei [gj if jil but
true na was Hokyu. Became an
997. Shoju V I&ipEfV Suc-
adopted child of Hohaku (Shoju
ceeded to the name. His wife, Jutei-
IX) and excelled among the mem-
ni, was an excellent carver and
bers of the Okano family in carv-
carriedon the family profession for
ing. Died on December 28, 1825,
her husband. Died on November
at the age of 58. It is written some-
14, 1760.
where that Hokyu carved the word
998. Shoju VI j&ip/N ft Suc- “shame” on his works but the
ceeded to the name. His true na author of this statement must have
was Manzoku. Died on October 3, confused his work with the work of
1769. Toen (B 1177).

999. Shoju VII I&Sp-LfV Suc- 1003. Shoju XI. + -ft

ceeded to the name. Was a younger Full name was Okano Mampei but
brother of Manzoku (B 998). Died true na was Tsunenori. Was the
on October 25, 1779. first son of Hokyu (Shoju X).
Remained single all his life. Died
1000. Shoju VIII Up ^
fV Suc- A on October 5, 1843, at the age of
ceeded to the name. Although he
42.
became Shoju VIII, his true uji
was Yamada. Died on November 1004. Shoju XII + ft
10, 1797. Full name was Okano Mampei but
SHIGEYOSHI SHOJU XII •
283
 .

% 5
*
*
P
131. SHOKO 132. SHOKOSAI II

true na was Koretaka. Was the last mi-ku, Osaka. Pre-eminent in

child of Hokyu (Shoju X). Died on fashioningbamboo baskets. Also
August 22, 1884, at the age of 61. made bamboo netsuke. At present
Shokosai IV is succeeding him.
1005. Shoju XIII *S m + H ft. See mosha (No. 132).
Full name was Okano Heizaburo
but true na was Hotoku. Was first 1013. Shokyusai ]E !h If- Cho-
son of Koretaka (Shoju XII). Used mei: Shokyusai IE !h Hf- Kyowa
another go of Kotei 2^. through Bunsei (1801-1829). Ivory.
Figures, birds, and animals.
1006. Shokasai bJ§. Middle. ^
Wood, horn, and ivory. Animal 1014. Shomin 4f* 15 Born in 1841. •

netsuke. Lived in Yuraku-cho, Tokyo. Was

a son of Shounsai (B 1032).
1007. Shokasai ^U . See Min-
koku (B 669). 1015. Shomin Jg£ J^. Go: Hokyusai
Wood.
Some netsuke bearing his
1008. Shokin Late.
signature are in existence.
1009. Shoko # H- Uji: Nishino jg 1016. Shomin Jg. Late. A fa-
if. Na: Shotaro #
-fc Chomei: Jg£

mous metal artist. See Fig. 1.

Shoko B. Born in 1915 at Senju,
Tokyo. Named Nishino Shotaro. 1017. Shominsai f. See
In 1930, entered the school of Soko Ghikamasa (B 30).
Morita (B 1101), becoming his star
pupil. Developed in the style of his 1018. Shominsai IS 05 If* See
master. Became independent in Ghikamasa (B 30)
May, 1943, and is engaged in carv- 1019. Sho-o See Ryuho
ing in Tokyo. See mosha (No. 131).
Nonoguchi (B 779).

1010. Shoko £. Middle. Some Shoraku

1020. IE Early mid-
netsuke bearing his signature are
dle. Ivory.
in existence. See Figs. 81 and 199.

1011. Shokosai jn] ^ See Houn

1021. Shoraku % Late. Ivory.
fjf.

(B 286). 1022. Shorinsai P If • Middle.

Ivory.
1012. Shokosai II jo} ^ Uji:
Hayakawa JfL JIJ. Chomei: Shokosai 1023. Shoryusai fg fjfg . See
tsukuru jp] ^ If ilr- Lived in Mina- Masachika (B 584).

284 • INDEX OF NETSUKE CARVERS

 a

cL
n

133. SHOSAI 134. SHOUN 135. SHOZA

1024. Shosai if. Uji: Tsuda

% ^ came a pupil of Komin Tsuji —
H. Chomei: Shosai to £*ZF. Born man from Uji, although there are
on August 25, 1878, in Osaka. no netsuke that bear his mei with —
Lived in Tsurumachi, Osaka. whom he studied for about one
year. Later studied carving for
Learned carving from Naomitsu (B
about one year with Ryuheisai
751). Mainly carved netsuke.
Usually used ivory. Excelled at Asada (B 848), a man who lived in
carving skulls and prawns. His Kyoto and carved netsuke in ivory
pupils, among whom were Hata- or tsuishu. Was drafted for the war
between Japan and China. Re-
naka Shoroku 4 % anc Nishi-
jtjfl
1 ^

turned to Kyoto on the termination

da Shoju ffl M % #, rendered great of his enlistment. Carved in ivory.
assistance to Shosai, for which they
were commended by the Osaka In 1940 began to carve in wood

Prefectural Government. It is said also and changed his go to Shoun.

that after the death of Shosai in Strove to attain the perfection of

1928 at the age of 50, his pupil Kaigyokusai (B 430). Carved ne-
Shoroku moved close to his master’s tsuke, okimono, and other objects.

house in order to assist his widow. See mosha (No. 134).

See mosha (No. 133). 1029. Shoun jgl or Shoundo
1025. Shoseki M Late. Wood. f. See Hakuryu (B 181).

1026. Shoso IE j©.. Middle. Wood. 1030. Shoundo IE S^ Early.

Wood.
1027. Shot© &$. Tempo (1830-
1843). Carved many netsuke of 1031. Shounsai $ M if- See Sho_

kappa (water imps). His technique un (B 1028).

was highly unconventional and M if- Uji: Mae-

1032. Shounsai Jt*
unusual.
da fj P3. Middle.
1028. Shoun ^1 - Uji: Yama-
1033. Shoyusai jE & if- Early.
moto [U Na: Takejiro ^
Shozan Chomei: Sho-
Go: Hokunsai ^ If or Shoun 1034. IE ill-

through Keio
zan IE Tempo
^ fg. Chomei: Shoun or dJ-

kakihan based on Shoun. Born on (1830-1867). Wood. Carved ne-

tsuke of Jurojin, animals, and
other
January 23, 1913, at Shimofuka-
objects. Some of his work is excel-
gusa, Kyoto. His father was a
gardener. At 16 years of age be- lent. See mosha (No. 135).
 *
a b

136. SHU 137. SHUCHI

1035. Shozan \U- Early. Some (1781-1800). Was a pupil of Shu-

of his figure netsuke are in exist- getsu I (B 1042). Was a priest living
ence. in Sakai.

1036. Shu -f|\ Uji: Hirakata ^ £j|. 1038. Shuchi lo- Chomei: Shuchi
Na: Shujiro ^ Chomei: Shu Early middle. Carved figure
Hf or Makie Shu ^ Hf. Born in netsuke in wood. See mosha (No.
1897 into the family of a Shinto 137).
priest in Kyoto. Presently is a
1039. Shuetsu |^j '$». Middle.
priest of Sannomiya Shrine, Hi-
Wood.
gashiyama, Kyoto, and a director
of the Shinto Priests’ Association in 1040. Shuetsu f&. Late. Some
Kyoto. Graduated from the Lac- oni netsuke are found that bear his

quer Department of the Kyoto Arts signature.

and Grafts School. Subsequently

became a pupil of Kimura Hideo
1041. Shugasai % |jf . Some ne-
tsuke bearing his signature are
7^ Lf Excelled at gold lac- found.
quering, in which he originated a
new technique as a result of his 1042. Shugetsu ^ . Uji: Hi-

experiments, for which he was

guchi |p or Hara j^. Chomei:
kakihan based on Shugetsu. Meiwa
honored by the Imperial Art
(1764-1771). Lived in Shimano-
Council. Has served as a professor
uchi, Osaka. Enjoyed painting,
at Kyoto Prefectural Arts and
perfecting himself in the style of the
Grafts School since 1930. On nu-
merous occasions he was elected
Kano school and earning the title

of hogan. Also skillfully carved ne-

as an examiner for the art exhibi-
tsuke of unusual elegance. His ne-
tions sponsored by Kyoto Prefec-
tsuke were held in high esteem by
ture and Kyoto City. In 1942, he
was honored by the empress, who
the public. Moved to Edo, where
he opened a Hina doll shop in
made a purchase of his work. Oc-
casionally carv d netsuke as a
Jikkemmise and eventually became
quite prosperous. Originally created
hobby. Lacquered his netsuke to
enhance their effect. See mosha Hina dolls in designs suggesting the
Shishinden Hall (of the Imperial
(No. 136).
Palace) by the inclusion of man-
1037. Shuchi Chomei: Shu- darin orange trees and cherry trees.
chi jfr £q. Temmei through Kansei For the offense of portraying sacred

286 • INDEX OF NETSUKE CARVERS

objects he was made to face the panied his master Osaka, and
to
magistrate and was thrown into at parting assured him
that he
jail. Later he was deported from would welcome him back to Edo
Edo. He returned to Osaka and whenever he should be able to make
continued producing mask netsuke arrangements for his return. When
as he had done prior to his mis- he was 23, Shugetsu II traveled to
adventure in creating Hina dolls. Osaka to keep his promise but
The mask of Ofuku was his forte. sadly found his master deceased.
See Fig. 4. He brought back to Edo his
master’s widow and nephews,
1043. Shugetsu II ^ . Shugetsu Shiro and Goro. It is said that the
II was the son of a lumber dealer widow died with her head on the
who lived alongside the Maruta knee-pillow of Shugetsu II on the
River in Kanda, Tokyo. When he occasion of the celebration of her
was 13 he saw his elder brother at 61st anniversary.
the Kanda Festival in fine cir- Shugetsu II used the go ofShizan
cumstances while he, as a younger on his paintings. Also made Hina

brother, had to work as an ap- dolls and helmeted dolls (kabuto

prentice eating cold rice and wear- ningyo), as well as festival carriages
ing straw sandals. Being discontent, for dolls. Occasionally made netsu-
he rebelled and quit his master’s ke which were of excellent quality.
house. Idly wandered into Shuge- It is said that the Cock of Renko

tsu’s house in Jikkemmise, where he (a drum placed before government

watched him carve, utterly fas- buildings, according to Chinese
cinated. Under Shugetsu’s urging, tradition, to summon officials to

a master-apprentice contract was hear suggestions, complaints, or

made, and he entered Shugetsu’s petitions) at Odemmacho and the
school. Eagerly studied methods Shoki at Kanda are examples of his
and made great progress. Shugetsu work.
boy and gave him his name
liked the
as Shugetsu II. When Shugetsu II 1044. Shugetsu III Shu-
was about 17 or 18, his master was getsu III was born to a very poor
deported from Edo. Shugetsu II family in Jikkemmise. Because his
wanted to share his punishment, father died when he was barely 13,
but the main family interfered. Shugetsu III lost the opportunity
However, Shugetsu II accom- to study his father’s craft. However,

SHOZAN SHUGETSU III •

287
 A
A

138. SHUMIN

when his father was close to death 1051. Shuji fij. Early middle.
he called Shugetsu III to his bed- Wood.
side and carved animals of the
1052. Shuji Zl. Late. Carved
zodiac as an example for his son to
wooden netsuke decorated with
follow. In this way the son had
ivory.
some opportunity to follow in his
father’s path. Soon after, the father 1053. Shuko ]I0 %. Late. Wood.
died in his sleep. It is said that his
sister devoted herself to the develop-
1054. Shuko ^ pi. Some netsuke
bearing his signature are in exist-
ment and success of Shugetsu III
ence.
until she was some 60 years old and
never married. 1055. Shuko JIO tL. Middle. Carv-
ed netsuke in painted wood.
1045. Shugetsu IV jfy ft . Meiji
(1868-1911). Shugetsu IV was 1056. Shukoku jfr Late. Wood.
named Hara Kingoro jj^ JUS. &2 1057. Shukosai . Early.
Learned carving from his father. Wood.
Carved Hina dolls, netsuke, and
other objects. Beginning in Meiji 1058. Shumemaru Be-

5, carved mostly okimono in ivory fore Temmei (1781-1788). Lived

and in Chinese woods for export. in Kanijima, Osaka. Called him-
It is said that Kyuichi Takeuchi self Unjudo f| jfgf
Was a Shin-
(B 575) taught him the techniques. toist. Carved netsuke only when
specially requested. Therefore few
1046. Shugo Middle. Was of his carvings are found. Did most-
a pupil of Shugetsu (B 1042). ly rough, simple carvings but oc-
casionally colored his netsuke. See
1047. Shugyoku ^ 3£ or Shugyo-
kusai ^ 3£ |f. Early middle. Ivory. Fig. 59.

1059. Shumin f£. Uji: Hara

1048. Shugyokusai ^ 3£ . Mid-
Kansei (1789-1800). Wooden
j^.

dle. Ivory.
masks and figures. Was a pupil of
1049. Shu-ichi . See Hide- Shuzan (B 1090) or Shugetsu II
kazu (B 209). (B 1043). In most cases he sheathed
the himotoshi in ivory. See mosha
1050. Shu-ichi ^— Carved mask
.

(No. 138).
netsuke. Most likely was a pupil of
Shugetsu (B 1042). 1060. Shumin ft Wfl: Masa gL

288 • INDEX OF NETSUKE CARVERS

 .

m
139. SHUMPO

Chomei: Shumin fjfr fg. Died about Specialized in shell inlay on wood
1875. Mostly wood. Was a pupil of carvings.
Shugetsu III (B 1044). Carved
figures, birds, animals, and other
1068. Shunkosai ^%
W- Chomei:
subjects.
Shunkosai |f^%Temmei and
.

Kansei (1781—1800). Mostly wood.

1061. Shumin ^ Jg. Early. Wood. Carved netsuke of figures and
animals.
1062. Shumin ^ J*;. Middle. Was
a metal artist. Some netsuke bear- 1069. Shunkosai ^ jT Iff. See
ing his signature are found. Chogetsu (B 51).

1063. Shumpo ^ Go: Haku- 1070. Shunsai ^ |f. Early mid-

zan fg p4- Chomei: Shumpo

dle. Called himself Chikuyuken
'$j.

Died in late Taisho (1912-1925).

Came from Sakai. Dealt in plasters 1071. Shunzan ^ [U- Uji: Tanaka
and ointments. Carved netsuke in 13 T- JVa:Katsutaro jfc Jl[L Late.
bamboo in his spare time. See mo- Came from Osaka.
sha (No. 139).
1072. Shunzan ^ [3. Early mid-
1064. Shunchikudo ^ 'sb See dle. Wood.
Joshu (B 399).
1073. Shuo ^^ or Shuosai ^
1065. Shunchosai ^ . Mid- ^ |f. Middle. Ivory. See Figs.
dle. Wood. 203 and 205.

1066. Shungetsu 4 ^ • Uji: U- 1074. Shuraku ^ gj§. See Shuraku

zawa || j!p. Na: Koryusai |f (B 1077).
Chomei: Shungetsu Born in ^3 .

1075. Shuraku ^
Middle.
Tempo (1830-1843). Middle and
Was a metal artist. Made the metal
late. Lived in Shitaya. Was a pupil
plaques for kagamibuta netsuke.
of Chogetsu Yamada (B 51). Was
the teacher of Inoue Kikutaro _E ^ 1076. Shuraku Some ne-
Kawakami Teijiro Jl| _h tsuke bearing his signature are in
and others. Carved ne-
'fc £[$, existence.
tsuke and okimono for export after
1077. Shuraku 31^- Uji: Kawa-
the opening of our ports for trade.
moto Jl| Na: Tetsujiro ^ H|$.

1067. Shungyoku ^ 3£. Late. Go: Shojosai $! Hf. Early Meiji

SHUGETSU IV SHURAKU • 289

 140. SHUZAN

(1868-1911). Wrote his mei (Shu- 1090. Shuzan [_Li. Chomei: Shu-
raku) variously or -ffr or^ ^ zan ft |Jj. Was good at carv-
Early.
^ HI. Entered the school of Hara ing mask netsuke of Okame in
Shugetsu III (B 1044) and after ten wood. Judging from his style he was
years of apprenticeship became in- probably a pupil of Shugetsu (B
dependent. Excelled in wood carv- 1042). See mosha (No. 140).
ing but, following the example of
1091. Shuzan ^ jjj Chomei: Shu- .

Asahi Gyokuzan (B 164). began to

zan Temmei and Kansei
[JLj.
work in ivory. Carved netsuke and
(1781-1800). Lived near Echigo.
okimono. Kyuichi Takeuchi (B
Carved netsuke of figures, animals
575) was also a graduate of the
of the zodiac, masks, and other sub-
school of Hara Shugetsu III.
Was a good carver but some-
jects.

1078. Shuraku ft Early. what lacking in refinement.

1079. Shuraku ft^k. See Shuraku 1092. Shuzan /nJtLi. Tomyo: Mitsu-
(B 1077). oki % pi. Tsusho: Shujiro ^
1080. Shurakusai ^ ^ |f. Mid- Go: Tansenso ^
Died in 1 776.
Jg..

dle. Wood. Name was Yoshimura Shuzan -j|f

JgJ fij. Came from Shimanouchi,
1081. Shuryo jlO j^. Middle. Ivory.
Osaka. Studied painting with Mi-
1082. Shusai j^| |f. Late. Wood. tsunobu Sagakawa. Was a credit to
the school and earned the title of
1083. Shusai |J. Late. Wood. hogan. Enjoyed carving netsuke.
1084. Shusai 4H See Kyuichi There are many designs associated
(B 575). with Shuzan which he made into
netsuke from the weird and fan-
1085. Shusen {tfj. Early Middle. tastic illustrations of the Sankaikyo
1086. Shusen j^I J||. Middle. and the Ressenden. Colored his carv-
Wood. ings beautifully. Used mainly cy-
press for his netsuke, which he did
1087. Shu-un ||. Middle.
not sign. His work has been widely
Wood.
forged. Those ignorant of the tech-
1088. Shu-unsai g| |gf. Late. nique of painting could never hope
to approach the level of his art.
(Shuyetsu: see Shuetsu.)
Buried at the Komyo-ji, Ten-
1089. Shuyo ^ Early. Wood. noji-ku, Osaka. Shuzan exerted an
 1 if
*
a
d b n
o b

141. SHUZAN 142. SOJU

enormous influence in originating taught inlay technique by Ekisei

the Osaka style of netsuke carving. (B 102) and became excellent.
Many carvers devoted themselves
1097. Soju 7^ ip. Some netsuke
to making Shuzan-style netsuke
are found that bear his signature.
from Anei through Meiji and Tai-
sho (1772-1925). It is said that 1098. Soju ^
ip. Uji: Fukai #.
copies of Shuzan netsuke made by Na: Motohisa ^
f|. Chomei: Soju
several carvers for the purpose of H ip. Born in 1918 in Ogata-gun,
practicing carving and coloring Nagano. In 1937, became a special
were exported to foreign countries. student ofSoko Morita (B 1 101) and
absorbed his master’s style. See mo-
1093. Shuzan
j^J flj. Chomei: Shu-
sha (No. 142).
zan jjgj kakihan based on
jJLj or
character shu jifj. Lived in Naga- 1099. Soka ft. See Heishiro
machi, Osaka. Named Kurobei % (B 201).
g[$ ||f. Galled himself the succes-
1100. Soko Uji: Toshiyama
sor of Shuzan Yoshimura (B 1092)
flj iJj. Na: Yonejiro fi|$. Cho-
and carved Shuzan-style netsuke.
However, he used boxwood and
mei: Soko H% or Soko-in-koku

invariably carved his signature. % f[3 ^lj. Born in Kanazawa City

in

1868. In 1880, he came to reside in

People referred to him as Shuzan
Osaka in the neighborhood of Kin-
Nagamachi to distinguish him from
Shuzan Hogan, since Nagamachi
ya ^ 4?, who was one of the best
pupils of Gyokkin Iida (B 1 33) Kin- .

was the slum area where he lived.

ya taught carving to Soko for about
His subjects were usually hermits
three years. Subsequently studied
and figures. All his carvings are
carving methods with Mondo Ta-
colored. See Fig. 60. See mosha
naka (B 714) and also learned a
(No. 141).
great deal by careful observation of
1094. Shuzan jgj [JL|. Go: Ranrin- the work of Tessai Kano (B 1173).
sai iif - Middle. Soko hired many employees in

1887 and engaged in the business

1095. Soen $£ 0 Late. Was a .
smoking
of producing wooden
pupil of Toen (B 1177). Carved
pipes, since they had become very
painted wood netsuke.
popular. The business failed, as did
1096. So-ichi ^— . Called himself his venture into the metal-casting
Shibayama So-ichi [JL|
^— *. Was business in 1905 or 1906. There-

SHURAKU SOKO •
291
 <5*
a b

143. SOKO

afterdevoted himself to carving. is a microscopic carving only 9/10

Mostly carved in wood but occa- of an inch in height. It is so tiny
sionally made colored netsuke. that the smallest face of Kannon
Excelled at carving historical sub- can hardly
at the top of the carving
jects. Also good at metal engraving be seen with the naked eye. His
and at painting. Died on October work has been exhibited at the
3, 1935. See Fig. 99. See mosha Tokyo Craftsmen’s Association,
(No. 143). Japan Art Association, Great Japan
Marine and Art Association, the
1101. Soko He*. Uji: Morita ^ Admirers of Prince Shotoku, and
[5. Na: Kisaburo HH
![b Chomei: others. On about 15 occasions Soko
Soko to H
£ Zb Soko koku gg E £lj, was awarded prizes. In 1931, was
or Soko HE* Born in December, an examiner for the Japan Art As-
1879. at Hongo-ku, Tokyo. His sociation and for the Great Japan
father, Masatoshi, was a metal Marine and Art Association. Was
artist but died when Soko was 5 also a director of the latter and vice-
years old. In January of his 15th chairman of the Group for the Ex-
year became a special pupil of Joso pansion of Ivory Carving. Is the
Miyazaki (B 400) and applied him- leader of the current netsuke carv-
self very diligently. Became in- ers. Has several pupils. His princi-
dependent in 1907 at the age of 29. ple is to start pupils with mask
Lived in Asakusa but later moved carving as a foundation for the
to Oji. Mainly worked in wood but carving of the faces in figure ne-
occasionally ivory. Usually did not tsuke. Is extremely careful in the
color his work but sometimes made selection of materials. Uses honen
colored obidome, okimono, and for animal eyes, yellow mother-of-
other objects. Recently also carved pearl for the eyes of frogs, and umi-
Buddhist images. His style is matsu for the pupils.
realistic and indicates some in- His method of staining is to boil
fluence from Hojitsu (B 243) and the completed carving for 24 hours
Kaigyokusai (B 430) in addition to in an earthenware pot containing
that of his master, Joso. His work is a mixture of Alnus Jirma and Cape
delicate and reveals extreme care jasmine. After the piece is cooled,
with each movement of his knife. it is thoroughly washed and polish-
It is beautiful and highly refined. ed with the leaves of Aphananthe
His recent Kannon of Eleven Faces aspera. It is then boiled in man-

292 • INDEX OF NETSUKE CARVERS

 144. SOKO 145. SOKOKU

drake bark for about 10 hours, after 1107. Somin ^ JR. A famous
which it is again washed and metal artist. See Figs. 1 and 62.
polished. Soko would not put his
1108. Sosei 7 ^ jj£. Middle.
signature on a piece if there was
any aspect of the carving that did 1109. Soshichi -fr. Uji: Satake £
not fully satisfy his artistic demands.
^ tt- Lived in Uchimoto-cho, O-
It is said that there are several saka. Was a frieze carver but carved
hundred which, though almost com- colored netsuke as an avocation.
pleted, never found their way into Was good at both wood and ivory
the hands of the public. See Fig. carving.
198. See mosha (No. 144).
1110. Sosho ^ Middle. Wood
1102. Sokoku Middle. and ivory.
Wood. Lived in Kyomachibori,
Osaka. Was a famous carver.
1111. Sosui ^ t}c. Uji: Ouchi ^
ft. JVa: Jiro Ji|$. Chomei: Sosui |jpk

Sokoku 7K- Born in 1911 in Asakusa. Eldest

1103. Uji: Egawa
— son ofGyokuso (B 160). Immediate-
Jl|. Born in
JVa: Asa-ichi >.

1920 in Shizuoka Prefecture. En- ly after his graduation, became a

tered the school of Soko Morita pupil of Soko (B 1101), with whom

(B 1101) in 1934 and developed in he studied for ten years. Presently

accordance with his master’s lives in Itabashi-ku, Tokyo with his
standards. father, Gyokuso. Carves okimono
as well as netsuke. His work was
1104. Sokoku ^ Chomei: So- selected for exhibition by the Japan
koku to tj? ^ jj. Middle. Ivo y and Art Association, Tokyo Art Work
horn. See mosha (No. 145). Exhibition, Japan Marine Art and
Crafts Exhibition, and others. Re-
1105. Sokyu ^ ffc. Uji: Negi ceived awards on several occasions
Before Temmei (1781-1788). Lived since 1932.
in Kyomachibori, Osaka. Was an
expert maker of artificial teeth. 1112. Sosui Uji: Okochi
Also carved excellent netsuke. p^j. JVa: Tsunematsu f|[ Cho-
mei: Sosui ^ or Sosui to ^ tK
1106. Somin ^ f^. Late. Some J}. Liked to carve. Became a mem-
figure netsuke bearing his signature ber of the Craftsman’s Association
are found. organized by Kyusai Hirai (B 576),
 'i
p
146. SOSUI 147. SUKENAGA

which he finally completely con- 1843). Ivory. Those of his netsuke

trolled. As a hobby carved in the which are found are excellent.
round and engraved seals. Also
carved tea-ceremony articles. Lived
1120. Suginoya # £ #. See Chi-
kayuki (B 33).
in Omino, Minami Kochi-gun. See
mosha (No. 146). 1121. Suikoku Probably
middle. Nut netsuke bearing his
1113. Soun ^ f|. Late. Ivory. signature are found.

1114. Sowa 7K fq. Uji: Kanamori 1122. Suiseki Late.

Na: Shigechika H Go:
1123. Sukemasa ^IE. See Ryu-
Sowa ^
^q. Died in 1656 at the age
kosai (B 860).
of 73. Became Daimyo of Hida but
later entered the priesthood.Used 1124. Sukenaga ^ J|. Uji: Ma-
the go of Sowa. After retirement tsuda pg. Chomei: Sukenaga ^
lived in a suburb of Uji. Was well Bunsei (1818-1829). Game from
known as tea-ceremony master. In Takayama, Hida. Family was en-
his spare time, carved figures of gaged in the business of making
local women tea pickers in the wood chopsticks. During his childhood,
of the tea bush. His technique was studied carving with Suketomo
elegant, and his carvings came to be Yoshida (B 1128) and became pro-
known as Uji ningyo (Uji dolls). ficient. Sukenaga regretted the loss
of power in the carving of Nara dolls
1115. Soya ^ Uji: Nakano cp because of the veiling effects of the
if.Na: Genshiro £[h Lives and
|Z3
paint. He studied the problem and
works in Kawasaki City. Was a hit upon a solution in the use of
pupil of Joso (B 400).
the wood of the yew tree, which has
1116. Soyo Late. Mostly natural reddish and whitish bands
mask netsuke. and produces the effect of Nara
dolls without the disadvantage of
1117. Soyo Was a famous
coloring. He is regarded as the
metal artist.
originator of the ittobori (carving
(Soyen: see Soen.) with a single knife) style of carving
characteristic of Hida. Embarked
1118.Sozan J§^ [Jj. Early middle.
enthusiastically on the carving of
Wood.
ittobori, which is regarded as one
1119. Sozan ^ifi. Tempo (1830- of the noted products of the district.

294 • INDEX OF NETSUKE CARVERS

 & t £
f-
$

148. SUKEYOSHI 149. SUKEYUKI 150. TADAHIRO 151. TADAMICHI

See Figs. 126, 127, and 219. See Sukeyuki •jfc iL- Uji: Izumi
1133.
mosha (No. 147). Middle and early late. Came
from Bamba, Omi. Was a maker of
1125. Sukenao ffc jg. Middle.
household Buddhist shrines. Good
Boxwood. Carved netsuke of figures
at carving frogs. Preferred Japa-
and skulls.
nese oak as his material.
1126. Sukesada ^ j=(. Late. Yew.
Carved rabbits and other animals. T-
1127. Suketada ^ JjtJ. Early. 1134. Tadachika Chomei:
Wood. Carved netsuke of figures Tadachika Bunkyu (1861 —
and masks. Was an excellent carv- 1863), although some opinions date
er. him from Kyowa through Bunsei
(1801-1829). Carved figure ne-
1128. Suketomo ^ Uji: Yoshi-
Was a pupil of To-
da j|f pg. Was the teacher of Suke- tsuke in ivory.

naga (B 1124). Wood. Carved mochika (B 1195).

figure netsuke. 1135. Tadahide * 3§F. Early.
Wood.
1129. Suketoshi ^ {^. Was the
son of Sukeyuki Izumi (B 1133), 1136. Tadahiro Hf. Chomei:
who taught him carving. Carved Tadahiro J[tJ Hf. Middle. Ivory. See
netsuke, okimono, and other ob- mosha (No. 150).
jects.
1137. Tadahisa ft b? £ • Early.
1130. Suketsune ^ Early. Wood.
Wood. Figure netsuke.
1138. Tadakatsu JjtJ Jjf. Late.
1131. Sukeyoshi ^ Chomei: Wood. Turtles.
Sukeyoshi ^ Late. Yew. Came
1139. Tadakuni ^ i. Late.
from Takayama, Hida. See mosha
Wood. Also lacquer carvings.
(No. 148).
1140. Tadamichi j|f. Chomei:
1132. Sukeyuki ft Chomei:
Tadamichi 5ff. Middle. Wood.
JjjtJ
Sukeyuki Middle and late.
See mosha (No. 151).
Came fromTakayama, Hida.
Carved netsuke of figures and other 1141. Tadamitsu ^%. Mei:
subjects using wood of the yew tree. Tenka-ichi T— *• Early middle.
See mosha (No. 149). Ivory. Animals.

SOUN TADAMITSU • 295

152. TADANARI 153. TADATOSHI 154. TADAYOSHI 155. TAISHIN

1142. Tadamune JS& Late. and other subjects. See Fig. 223.
Ivory. See mosha (No. 154).

1143. Tadanari
jfc. Chomei: Ta- 1150. Tadayoshi Early.
danari. ffc. Middle and late. Wood.
Came from Hakushu. Carved gar-
goyle netsuke in black persimmon
1151. Tadayuki Tempo
(1830-1843). Wood. Mermaid ne-
wood. See mosha (No. 152).
tsuke. Used elaborate designs.
1144. Tadanori Jg j|lj. Specialized
in carving excellent shishi heads.
1152. Ta-ichiro jfc. rfj Uji: Na-

Tadatane
gao H Jg. Was a pupil of Issai Oga-
1145. jjgL Go: Kinryu- sawara (B 352) Was also a member
.

sai ^^ jjf. Chomei: Tadatane jfL. of the resident group of the castle
Late. Ivory. guard. Excelled in delicate carving.
1146. Tadatoshi ^ ^[J. Chomei:
1153. Taishin ^ y|. Uji: Ikeda
Tadatoshi embossed char-
in
acters. Temmei through Kansei
$1 E9. Mei: Taishin ^ ff|. Born in
1825. In 1835, at the age of 11,
(1781-1800). Came from Nagoya.
entered the lacquer school of Ze-
Was a famous carver. Carved excel- shin Shibata (B 1337). Because of
lent netsuke of figures, birds, ani-
his diligence and application, be-
mals, fish, shells, masks, and other
came the best lacquerer among Ze-
subjects.See Figs. 116, 121, and
shin’s pupils. After Zeshin’s death,
130. See mosha (No. 153).
was recommended as a member of
1147. Tadatsugu JjtJ Early. the Imperial Art Committee. Oc-
Wood. casionally made gold-lacquer ne-
tsuke. See mosha (No. 155).
1148. Tadayoshi jg Uji: Mori-
shita Heizo
~f. JVa: jjg£. Middle ^ 1154. Takugyoku jgjc 3£. Early.
and Lived in Shiba Kotohira-
late. Wood.
cho, Tokyo.
1155. Takusai |ff . Na: Tomi-
1149. Tadayoshi ^ j§. Chomei: tane 'g Tsitsho: Senshiro ^ |ZH £[$•

Tadayoshi ^ |g or Hogan Tada- Go: Takusai Hf. Chomei: Takusai

Jgc

yoshi gg |g. Tempo through Died in 1888 at the age of

Keio (1830-1867). Came from Na- 72. Came from Suwa-gun, Shinshu.
goya. Earned the title of hogan. Was the second son of Tomimasa
Excelled at carving shells, animals, ^ f|. His grandfather Tomimune
296 • INDEX OF NETSUKE CARVERS
 :

a b

156. TAKUSAI 157. TAMETAKA 158. TANEK1YO

^ came to Edo and entered the 1161. Tanekiyo H

i||. Chomei Ta-

school of Tachikawa Mohei Jl| nekiyo fi Middle. Wood. See

.

^ ip to study carving. Later Tomi- mosha (No. 158).

mune returned to his own town,
where he exercised his profession 1162. Tansai PfUf. Go: Tansai
and taught carving to his descend- or Bairindo $$ ^
Chomei: Tansai
ants. Tomimasa died 1856 at in # if. Late Tokugawa (1601-1867).
the age of 74. Takusai’s son Yoshi- Family name is unknown. Bai-
kiyo |§ ^succeeded to his father’s rindo signifies a garden of bamboo
profession. and plum trees and was probably
1156. Takusai Chomei: Ta-
adopted out of his love for fine old

kusai jSf . Early middle. Wood. plum trees which he grew in his

See mosha (No. 156), garden. Lived in Tsu. First appren-

ticed to Kamaya Gorosaburo, a
1157. Takushijun || dr See
maker of iron pots in Kyoto, a trade
Masatoshi (B 630).
in which Tansai improved his skill

1158. Tameoto ^ Zj . Ondoku: I- over several years. Returned to Tsu

otsu. Early middle. Wood and and received commissions from the
ivory. Tsu clan. Tansai fashioned the
bronze seals of the Daimyo of Tsu,
1159. Tametaka H Uji: Kita
Todo Takatora, and of the Yuzo-
Hh Na: Kiuemon |g: £ % F! kan school of the Tsu clan. Pre-
Chomei: Tametaka |^. H Before
ferred bronze as his material. Liked
Temmei (1781-1788). Lived in
to portray the subjects of the Four
Hommachi, Nagoya. Carved figure
Wise Men and to illustrate in in-
netsuke in wood. Originated the and poems
laid designs the stories
technique of carving raised designs
written by Tsuzaka Toyo, the Con-
and crests on kimono, giving the fucianist. Some of his work is found
appearance of embossing. This
with designs of snails carved from
accounts for the prevalence of the
touchwood. Since he was a superior
technique in the Nagoya area. It is
draftsman, his carvings also tended
said that he was a heavy drinker
to be of excellent technique. Maeda,
and quite eccentric. See Fig. 142.
the Daimyo of Kashu, presented
See mosha (No. 157).
the Daimyo of Fujido with a Daru-
1160. Tametomo ^ Middle. ma 12 feet in height. The latter was
Ivory. so pleased with his gift that in re-

TADAMUNE TANSAI • 297

 a

«^w

159. TEMMIN

turn he commissioned Tansai to 1171. Temmin ^ Chomei: ka-

make a bronze sak6 cup, 3 feet in kihan based on Temmin. Tempo
diameter and decorated with a (1830-1843). Was a metal artist of
and clouds.
raised design of dragons Edo. Called himself Shojo Temmin.
The dragons seemed to breathe and Shuraku (B 1075) was a pupil in his
drift. The Daimyo of
the clouds to school. Made kagamibuta netsuke.
Kashu was most pleased and treas- See mosha (No. 159).
ured the gift. It is said that the
very same sake cup is in use today
1172. Tenko ^ X. Early middle.
Wood.
at the water fountain in Kenroku
Park. Tansai also excelled in paint- 1173. Tessai Uji: Kano jjp
ing and in haiku poetry. While Na: Kotaro jfc jk £|L Go: Tessai ^
his netsuke are not rare, they are ^5$. Chomei: kakihan based on the

scarce. character %
or Tessai to and kaki-
han based on the character jfc.
1163. Tanso ±JL . Was a metal
Born on February 15, 1845, at
artist.
Hommachi, Gifu. Father’s name
1164. Tatsuki Kanzo fg W] H was Jinzaemon Kano. Family
See Kanzo (B 452). originally engaged in sake brewing

Tatsuo but later changed to dealing in

1165. §| $§. Uji: Kaneda
Na: Kanejiro Meiji
cloth. All members of the family

(1868-1911). Rendered considera-

were interested in painting, and
ble service in the interest of carving
some of them supported their

during Meiji. Also carved netsuke. families by brush painting or carv-

ing. Tessai entered the priesthood
1166. Teiji ^ H. Late. Wood. at the age of 12, studying carving
and the painting of Buddhist sub-
1167. Teimin Ij£. Middle.
jects by himself. As Jinzaemon died
Wood.
when Tessai was 23, Tessai returned
1168. Teimin ^ f^. Uji: Naka- to secular life as the head of his
yama Tib- Na: Teijiro ^ £[$. family household. Established him-
Called himself Gosokusai ^ }|f self as a professional painter and
Did inlay work. sculptor. In the winter of his 30th
year, took up residence in Suruga-
1169. Teizan |g jJLl . Late.
dai,Tokyo, and devoted himself to
1170. Teizui ^ |§g. Middle. Wood. carving as his chief interest. At 38

298 • INDEX OF NETSUKE CARVERS

 —

a b
7 .

160. TESSAI 161. TETSUGEN

moved to Nara, where he made a 1175. Tetsugendo £§[ £ Same

further study of painting and carv- carver as Tetsugen. See Kyusai
ing. At 41 was appointed by the (B 576).
minister of education as a member
of the committee for the study and
1176. Toei ^ Late. Wood.
research of the ancient arts. In this 1177. Toen Uji: Morikawa
connection visited the shrines and Tomyo: Tomokichi £ pf. Go:
temples of the Five Provinces Toen m. Chomei: Toen HI, To-
Yamato, Yanagi, Settsu, Kii, and en saku m f^, or kakihan based
Omi—in order to study their art on Toen. Born on June 26, 1820,
treasures. At 45 was appointed a at Inoue-cho,Nara. Studied paint-
professor of theTokyo Art School ing with Kien. His work was ad-
but later again removed to Nara, mired by the Daimyo of Tosa,
where he studied the sacred treas- Kajino, who was the magistrate of
ures of various temples and rend- Nara. As a mark of his esteem, the
ered great service in copying many magistrate awarded Toen the na
of them. Thereafter he lived suc- of Fuso and the go of Toen names —
cessively at Gojo Temple, Yamato, derived from Japanese mythology.
Jisei Temple, Takatsu, Osaka, and At 1 7, he began to study Noh com-
other places. Once returned to edy in the school of Yamada Hachi-
Tokyo, but in 1917 again moved
to emon and mastered it. In March,
Nara, where he built a small shack 1854, the emperor saw a play in
which he called Saishoshoja and in which Toen acted. Studied carving
which he carved almost daily. Origi- in the school of Hohaku (B 240) at
nated teppitsu-bori, a technique of the age of 18 and rapidly became
engraving landscapes, figures, or proficient. His work was entered in
other subjects on a flat surface such the First National Industrial Ex-
as wood or metal. The paintings and he was
hibition, held in 1877,
and brush writings which were his awarded the Phoenix Prize. On
hobby won him a great public rep- numerous occasions was awarded
utation. Died on October 28, prizes at various art exhibits. Was
1925. See mosha (No. 160). patronized by the Imperial House-
hold, from which he received many
1174. Tetsugen §§$ Chomei: Te- orders. At the request of the Im-
tsugen See Kyusai (B 576). perial Museum, made copies of
See mosha (No. 161). ancient Nara carvings which were

TANSO TOEN •
299
 li'
” If) S) eft
il
o b c

162. TOEN 163. TOKIMINCHO 164. TOKOKU 165. TOKUSEI

identical in appearance with the 1184. Tokoku Uji: Suzuki

originals. The deer okimono ex- #£ 7fc. Na: Tetsugoro 3£ g|$. Cho-
hibited Chicago World’s
at the mei: Tokoku or Tokoku to ^
Fair in 1892 was his last master- JJ, sometimes in a metal plaque
piece and is presently seen at the inlaid in the carving. Lived in To-
Imperial Museum. He was the kyo. Enjoyed carving and was self-
paragon of the great master carvers taught. Never served as an appren-
of Nara ningyo. Died at Nara on tice. In 1862 opened his own school.

July age of 75. See

15, 1894, at the Carved netsuke which were highly
Figs. 29 and 40. See mosha (No. prized and valued. Equally pro-
162). ficient in carving ivory, horn, metal,
wood, and stone. At present his
1178. Togen #|c Uji: Setani $J
school is represented by Tokoku
Na: Gennosuke $J'> later
III. See Figs. 50 and 76. See mosha
changed to Kajizo H gfg. Go: Togen
(No. 164).
#1$ Chomei: Togen Born on
November 3, 1844, in Koriyama. 1185. Tokosai ^ . Early.
Succeeded to his father Jinzo’s go Ivory.
of Togen. Was a clansman but
carved Nara ningyo.
1186. Tokujutei flg § Middle.
Wood. Some of his work bears the
1179. Togetsu fp Late. Carved . mei: “74 years old.”
netsuke of butterflies in ebony.
1187. Tokuryo ^ Early mid-
1180. Togyoku ^ 3£. Late. dle. Carved ojime and other small
objects.
1181. Togyokusai ^ 3l If See
Tomomasa (B 1207). 1188. Tokusai % Chomei: To-

1182. Toju ^ gfc. Early middle.

kusai # ofe. Keio (1865-1867).
Mainly wood.
Wood.
1189. Tokusei iff. Chomei: To-
1183. Tokimincho f|. Cho-
kusei iff. Early middle. Wood.
mei:Tokimincho f|, Rakumin
Tigers. See mosha (No. 165).
Toki Hogan ¥1 jfe 01, or kaki-
han based on Toki Hogan. Koka 1190. Toman ^ $|Sf. Chomei: To-
through Keio (1844-1867). Made man iff ipf. Early middle. Wood.
netsuke in wood and ivory. See Excellent craftsman. See mosha
mosha (No. 163). (No. 166).

300 • INDEX OF NETSUKE CARVERS

 :

166. TOMAN 167. TOMIHARU 168. TOMOCHIKA I 169. TOMOCHIKA II

1191. Tomiharu || Uji: Shi- some of his carvings. Died on Octo-

mizu 7f<. Chomei: Sekiyohako ber 23, 1811, at the age of 88. See
Seiyodo cho ^H& ^ . Fig. 139. See mosha (No. 167).
Chomei: Seifushun of Seiyodo of Ka-
waigawa, Iwami Province, carved 1192. Tomin i|f |[|j|. Chomei: To-
at the age of 62 in the summer of min ^ |f|g. Temmei through Kan-
Kansei 6 * It &
sei (1781—1800). Wood. Figures
^^7^+ n m M mM £ T and devils.

% ¥ jit M. -dl- Chomei Tomiharu 1193. Tomin ^ f£. Late. Wood.

Seiyodo of Kawaigawa, Sekishu,
carved at the age of 58 on July 24, 1194. Tomoaki Uji: Ina-
Kansei 2 ft #| gawa fg Jl|. Middle. Ivory.
+ *igfc
1195. Tomochika I
- m ft -fc ff -+0 0 Go: Sei-
Go: Yamaguchi Chikuyosai [ij P
fushun iff ^ Shunyodo ^H H If- Chomei: Tomochika £
Seiyodo W Hr
Rito g£ #f$, and
Born in Edo in 1800. Was a young-
others. Born in 1723 in Tamatsu-
er brother of Shominsai Chika-
kuri, Izumo. Was Iwao I. Since his
name was Tomiharu, he used the
masa (B 30), from whom he learned
carving and became a professional.
Chinese reading to compose his go
Lived in Sugamo, Tokyo. Carved
of Seifushun. In 1745, at the age
mainly in ivory. Carved Ashinaga,
of 13, he entered the priesthood at
Tenaga, animals, shells, and many
the Choei-ji, Iruma, Jizeki-gun,
subjects taken from Hokusai’s Man-
Hata-mura. Liked carving and later
ga. Efforts were concentrated on
journeyed to Edo to study. Return-
designs rather than on refinement.
ing to his home province of Izumo,
The years of his productivity cover
he finally settled in Naka-gun,
Bunsei and Tempo. Died in 1873
where he abandoned the world of
at the age of 74. Taught many
Buddhism and married a local
pupils. See Figs. 79 and 137. See
woman. Lived there continuously
mosha (No. 168).
until his death. Was quite a good
haiku poet. Used many artist names 1196. Tomochika II H Zl ft-
such as Shunyodo, Seiyodo, Rito, Was a grandson of Tomochika I
and others. home was
Since his (B 1195), whom he succeeded as
situated near the Kawai River, he Tomochika II. See mosha (No.
used the name of Kawaigawa on 169).

TOGEN TOMOCHIKA II • 301

 .

170. TOMOCHIKA III 171. TOMOCHIKA

1197. Tomochika III £ H ft. 1206. Tomokazu £ — . Uji: Kano

Uji: Yamaguchi p. Na: Chin-
;lj jjp Chomei: Tomokazu £—
nosuke $yf ^ f}fj. Go: Ghikuyosai ff Born in Kajimachi, Gifu. When 17
|H§ Chomei: Tomochika £ || or years of age, went to work for a
Chikuyosai ft !§ Born in 1842. reputable family named Shibata
Lived in Sugamo, Tokyo. In 1863, ^ Liked carving and devoted all
E0 .

succeeded Tomochika and became his spare time to the use of the
Tomochika III. Carved netsuke. carving knife or the writing brush.
Also made okimono for export. See One day his master scolded him
Fig. 220. See mosha (No. 170). for spending his time in this man-
ner. Thereafter he waited until his
1198. Tomochika £ Cho-
master and fellow workers were
mei: Tomochika £ 15- Bunsei
asleep and then assiduously prac-
(1818-1829). Carved in wood,
ticed carving, making great prog-
ivory,and horn. Was a pupil of
Tomotada (B 1215). Later moved ress. One day master happened
his
to see his work and was lost in ad-
to Edo. See mosha (No. 171).
miration. Thereafter the master
1199. Tomofusa £ Uji: Hata gave Tomokazu his full support.
Lived in Tsuyama, Saku-shu.
ftfl. Specialized in carving netsuke.
Carved lacquer netsuke. Was called Later went to Kyoto, where his
Lacquerer Kambei. Also carved in name became well known. Upon his
ivory. return to Gifu, planted two cherry
treesnear the Kannondo Temple
1200. Tomoharu £ Middle.
at Mokuyama, near the foot of
1201. Tomohide £ Middle. Kinkazan Mountain. The two trees
Ivory. formed the gateway to the hermit-
1202. Tomohisa £ ft. Middle. —
age he built a place where he
lived in celibacy for the rest of his
Wood.
life. hermitage were no
In the
1203. Tomohisa ft. Middle. furnishings than books,
other
Ivory. knives, and a table. Once, wishing
to carve a deer netsuke, he left his
1204. Tomoji £ m. Middle.
house unguarded for three days
Wood.
while he went to Shiro Mountain,
1205. Tomokado £ pj. Middle. where he sketched living deer, so
Wood. enthusiastic and diligent was he in

302 • INDEX OF NETSUKE CARVERS

 a b

172. TOMOKAZU 173. TOMOTADA

carving. His work is admired by Lived in Edo. Was the teacher of

many people. The time of his Ninraku (B 760).
death is uncertain, but it was prob-
1216. Tomotada Uji: Izu-
ably during Tempo, when it is said
that he was over 70 years of age.
miya fp ^ M- Na: Shichiemon Aq
The figure of Kannon enshrined in
Hi PT Chomei: Tomotada £
Prior to Temmei (1781-1800).
the rest hut of the present Moku-
Lived in Kyoto. Was extraordinari-
yama Temple is attributed to To-
ly skillful in carving cattle in either
mokazu. Excelled at carving ne-
ivory or wood. His work became
tsuke of turtles and monkeys. See
widely known as “Tomotada cat-
Fig. 136. See mosha (No. 172).
tle.” Even during his lifetime,
1207. Tomomasa jgfc. Uji: Ka- forgeries of his work were com-
to j]W B- Na: Masajiro jgfc #: g|5. Go: mon. His carvings were so alive and
Togyokusai j|f 3£ Middle. Was.
vivid that reportedly only a glance
a pupil ofTomochika (B 1195). was necessary to determine their
1208. Tomomasa ^ IE. Chomei: authenticity. Signed Tomotada
Tomomasa IE. Middle. Ivory. /jtj. was shown a netsuke in the
(I

form of a tiger accompanied by a

1209. Tomomitsu ^ jfc. Middle.
letter purportedly written by To-
Ivory.
motada to a man named Tsukuno.
1210. Tomonaga H. Middle. The letter is dated 1602. It thanks
1211. Tomonobu ^ jf. Chomei: Tsukuno for the kindness he showed
Tomonobu fjf. Temmei and when Tomotada was ill and in ap-
Kansei (1781-1800). Carved ne- preciation presents him with the
tsuke of figures, animals, and in- accompanying tiger netsuke.
sects. Whether or not Tomotada was
alive at such an early date and
1212. Tomonobu ^ f|. Early.
whether so elegant a carving was
Wood.
already made, I do not know. I
1213. Tomosada ^ Early. merely repeat this as indicative of
Wood. someone’s opinion.) See Fig 108.
1214.Tomoshichi ^ Tr. See See mosha (No. 173).
Masanobu (B 616). 1217. Tomotada Uji: Ya-
#£ ,£.
1215. Tomotada Middle. nagawa $p Jl|. Na: Zenzo
Called himself Eirakusai ||f. Chomei: Tomotada #^ in em-

TO OCHIKA III TOMOTADA •

303
 —

174. TOMOTADA . 175. TOSH I

bossed characters. Tempo (1830- $p). Was a maker of sword decora-

1843). Learned metal work from tions but also carved netsuke.
Tanabe Tomomasa Efi ill# IE, the
1227. Tomoyuki ff* Early.
founder of the Tanabe branch of
Ivory, wood, and bone.
the Yokoya school of metal artists.
As a hobby he carved inro, netsuke, 1228. Tomoyuki Early.
and other objects in wood. His
technique was exquisite. See mosha
1229. Tomoyuki ^ Bunkyu
(1861-1863). Was a pupil of To-
(No. 174).
mochika (B 1195).
1218. Tomotaka ^ j|. Bunkyu
1230. Toryu Ig- fg. Early. Ivory.
(1861-1863). Was a pupil of To-
mochika (B 1195). 1231. Toshi $|< ££. Middle. Was a
1219. Tomotane ^ jfL- Chomei: pupil of Toyo (B 1252). Made gold-
lacquer netsuke. See mosha (No.
Tomotane ^ jfL- Temmei and Kan- 175).
sei(1781-1800). Lived in Kyoto.
Carved netsuke of angels, human 1232. Toshichika mm- Late.
figures, and animals. Ivory.

1220. Tomotoshi ^ ^lj. Early.

1233. Toshiharu flj Go: Boku-
Ivory.
gyuken 4 1
$L Middle.
•

1221. Tomotsugu ^ Early.

1234. Toshihiro ^Ij Hf. Middle.
Ivory.
Wood.
1222. Tomotsune Early
1235. Toshikazu flj-. Early
middle. Wood.
middle. Wood.
1223. Tomotsune ^ Some
1236. Toshikazu ¥— Late.
mask netsuke bearing his signa-
•

ture are found.

Wood.

1224. Tomoyoshi Middle. 1237. Toshikazu Late.

Wood. Ivory.

1225. Tomoyoshi ^ f^. Middle. 1238. Toshimasa TJ IE. Early.

Wood. Wood.
1226. Tomoyoshi f£. Early 1239. Toshimune ItP th- Early.
middle. Called himself Ichiryu ( Wood.

304 • INDEX OF NETSUKE CAR RS

 176. TOYOKAZU

1240. Toshinaga ip 7^. Uji: Ko- 1248. Toun ^ fg. Go: Ikkosai —
jima /fi Jg?. Middle. Was the master % used only in his later years.
,

of Sento (B 951). Tempo (1830-1843). Principally

carved netsuke in elaborate designs.
1241. Toshinori ip J(lJ. Middle.
See Fig. 129.
Wood.
1249. Toun gf. Middle. Some
1242. Toshiyuki ^ Early. netsuke bearing his signature are
Wood. found.

1243. Totenko ^ ^ 7^. Came 1250. Tounsai ^ . Early

from Kazusa. middle. Wood.
1244. Tou ^ Chomei: Tou Gi- (Toyei: see Toei.)
saku ^M Tou is another go
(Toyen: see Toen.)
of Tsuchiya Yasuchika I, who was
known one of the three great
as 1251. Toyo Late. Wood.
metal of Nara. Carved ne-
artists
1252. Toyo $|< Early. Was a
tsuke in wood or bamboo as a
famous gold-lacquer artist.
hobby. His work is roughly carved
yet powerful and graceful. 1253. Toyokazu f|
— Chomei:
Toyokazu §g — Middle. Wood.
1245. Touemon $§ U Hr FT Be-
.

Was a pupil of Toyomasa (B 1254).

fore Temmei (1781-1788). Lived
See mosha (No. 176).
in Goyo Sayamachi, Kyoto. Called
himself Daikokuya 1254. Toyomasa
|g ||. Uji: Naito

1246. Toun ^
g|. Died on Sep-
f*I 1|. Sensuke
JVa: %fj. Chomei: ^
tember 23, 1910, at the age of 64.
Toyomasa H
||. Born in 1773 into

a farming family of Taki-gun,

Lived in Asakusa, Tokyo. Was a
Tamba Province. The go of his
pupil of Houn (B 286). Was
granted the title of hogan for his
family was Fujiya H M- During
Kansei engaged in the profession
sculpture of Buddhist images. Was
of carving seals. In addition to his
the teacher of Koun Takamura (B
profession, he made wood carvings
555).
and made decorations for women’s
1247. Toun §• Came from carved swords (koshimotobori) His .

Oshu. Was a sculptor of household work was original and refined.

shrines. Also carved netsuke. Excelled at decorating koshimoto-

TOMOTAKA TOYOMASA • 305

 t
&

177. TOYOMASA

and feminine taste.

bori to suit soft monly known as Hidari Toyomasa
work he worship-
Before beginning fg H . Buried at the Kannon-ji,
ped Dainichi Buddha and then Shinoyama-machi.
entered a paper-covered bamboo
enough for him
1256. Toyozane g| Middle.
cubicle just large
Wood.
to squeeze into. Utilizing a narrow
beam of light entering through a 1257. Tozan ^ j±i . Late. Inlay
small hole in the roof, he did his work.
carving. Was an excellent com-
poser of haiku and waka poems. 1258. Tsuji gfc. Before Temmei
Also arranged flowers in the style (1781-1788). Wood. Was an ex-

of the Enshu school, using the go of cellent carver.

Shunshoan for this purpose. Ao-

1259. Tsunemasa fl IE. Late.
yama Tadasuke, the lord of Shino- Ivory.
yama Castle, liked Toyomasa and
commissioned him to do various 1260. Tsunemasa & B&. Early.
carvings, giving him the mei of Ivory.
Toyomasa. When a relative of the
1261. Tsunenori *Jg fjg. See Shoju
lord, Aoyama Yamato-no-kami,
XI (B 1003).
requested Toyomasa to make him
an okimono, Toyomasa carved the 1262. Tsurigane ||. Middle.
subject of a snake and a precious Ivory.
stone. On the bottom of the oki-
mono Toyomasa wrote: “By com- 1263. Tsuzen & Middle.
mission at Shinoyama, Toyomasa, Carved in bone.
aged 73 and his son, a left-handed
carver aged 35, made in January, -U-
Koka 2 [1845].” Died in November,
1856, at the age of 84. Buried at 1264. Umboku |g f. Early.

the Kannon-ji, Shinoyama-machi. Wood.

See Fig. 86. See mosha (No. 177).
1265. Umehara Jfp;. Ondoku:
Baigen. See Baigen (B 4).
1255. Toyoyasu fg *§:. Born in
1810. Died in September, 1883. 1266. Umon PT Meiji ( 1 868—
Was a son of Toyomasa (B 1254). 1911). Carved mask netsuke in
Was left-handed and hence com- colored wood.

306 • INDEX OF NETSUKE CARVERS

 iZ
t

178. UNSHODO

1267. Umpo m M- Middle. Called shrines. Also carved netsuke and

Ogura Kouemon. Was a pupil of okimono of fine quality.
Tomochika (B 1195).
1278. Washoin fp |5%. Before
1268. Umpo if flf. See Kajun (B Temmei (1781-1788). Lived in
433). Kami-machi, Osaka. Was a moun-
tain-dwelling ascetic. Did colored
1269.Unjudo g! |f HhJ. See Shu-
memaru (B 1058).
carving in the style of Umpo (B
1267).
1270. Unkai g| Hfj. Early. Figure
netsuke.
-Y-
1271. Unkyo g| Chomei: Un- 1279. Yamatojo ^ fp jz. Before
kyo g|
>$§. Tempo (1830-1843). Temmei (1781-1788). Lived in
Mainly wood. Edo. Called himself Nakayama.
1272. Unsei gf Middle. Excelled at delicate carving such
^f.
as the minute representation of
1273. Unshodo § Chomei:
animal hair in ivory ash-tray ne-
Unshodo gf Ifc 'g\ Early. Black
tsuke.
persimmon wood. Animals. See
mosha (No. 178). 1280. Yasuchika ^ £g. Uji: Oto-

1274. Unzan Middle.

gawa ^Middle through Late.
Jl|.
gf |JL|.
Was a pupil of Tomochika (B
1275. Uwasa ^ fp Late. 1197).
Carved in wood, which he lac- Tou
quered.
1281. Yasuchika ^ See
(B 1244).

1282. Yasuhei Before

W Temmei (1781-1788). Lived in
1276. Waryu fp Before Tem- Wakayama. Carved colored ne-
mei (1781-1788). Lived in Edo. tsuke.
Carved in the style of Miwa (B Middle.
1283. Yasuhide ^f§F.
710) and was probably his pupil.
Wood and ivory. Figure netsuke.
1277. Washiro fp |?H g[$. Prior to
and during Tempo (1830-1843).
1284. Yasutada ^ Early.
Wood. Animal netsuke.
Came from Suwa. His main voca-
tion was the carving of household (Yekisei: see Ekisei.)

TOYOYASU YASUTADA • 307

 .

179. YOSHINAGA

1285. Yomin Kf J^. Middle. Wood. 1296. Yoshimasa ^ B&. Early.

Wood. Called himself Deme fij g
1286. Yo-o |S§ JgU Uji: Niwa
JVa: Akira Chomei: Yo-o % Jp,. 1297. Yoshimasa g. Early.
Late. Mainly wood. Lived at Ten- Wood.
noji, Osaka.
1298. Yoshimasa |§ g. Middle.
1287. Yoritake H Uji: Kawai Ivory. Called himself Seiyodo [y§ ^
fpf Before Temmei (1781-1788). Was most probably a member
Lived in Kyoto. Was
a sculptor of of the Tomiharu school.
Buddhist images. Carved netsuke
as a hobby. His carvings are ex- 1299. Yoshimasa g. Some ne-
tremely beautiful and executed in tsuke bearing his signature are in
a rare style. Established his own existence.

school.
1300. Yoshimasa ^ IE. Chomei:
1288. Yoshiaki |g Eft. See Goto Yoshimasa ^ IE- Kansei through
Yataro (B 128). Bunsei (1789-1829). Ivory. Figure
netsuke. See Fig. 194.
1289. Yoshiaki H Eft. Middle.
Lived in Tokyo. 1301. Yoshimoto jc. Before
Temmei (1781-1788).
1290. Yoshihide ^ Middle.
Wood. Mask netsuke. 1302. Yoshinaga § J|. Chomei:

1291. Yoshihisa H f\. Middle.

Yoshinaga ^ Before Temmei
(1781-1788). Lived in Kyoto.
Wood.
Called himself Koyoken J|jf ^ .

1292. Yoshikane H ffe. Chomei: See Figs. 109 and 224. See mosha
(No. 179).
Yoshikane H Keio (1865-1867).
Mainly wood.
1303. Yoshinaga ]|f fa. Late.

J| — Late.
1293. Yoshikazu .
Ivory.

1294. Yoshikazu ^ — Early. . 1304. Yoshinao J| g. Chomei:

Wood. Yoshinao |g jit. Tempo (1830-
1843). Wood.
1295. Yoshikazu |f j|. Some ne-
tsuke are found that bear his signa- 1305. Yoshinobu ^ fg. Early
ture. middle. Wood.

308 • INDEX OF NETSUKE CARVERS

 180. YOSHIRO 18). YOSHIYUKI

1306. Yoshinori H £§. Uji: Kagei 1314. Yoshitsugu gg. Early.

JVa:Hidetaro £[$. Go: Was a samurai of the Yanagawa
Kosho ^ but later changed to clan. Excelled at carving hannya
Yoshinori H Born in 1848 in masks.
Osaka. Was the first son of Dosho
1315. Yoshitsugu H Early.
(B 89) and, like his father, special-
Wood. Mask netsuke.
ized in ivory. Also excelled in inlay
work. Lived at Tennoji, Osaka. 1316. Yoshiyuki ^ Chomei:
Carved mostly netsuke, okimono, kakihan based on Yoshiyuki. Late.
and other small objects. His hobby Did beautiful work in ivory. See

was composing waka poems and mosha (No. 181).

painting in the Japanese style. Yoshiyuki
1317. ^ Early.
Also interested in tea ceremony and Carved figure netsuke.
ancient court music (Bugaku) Died .

1318. Yoshiyuki j| Go: Isshin-

in 1906. Buried at the Yuko-ji
Fujisawa, Sagami Province.
sai — L' Sf. Middle.

1319. Yoyusai Was a

1307. Yoshioki ^ f|. Early.
famous gold-lacquer artist. Also
Wood.
made gold-lacquer netsuke.
1308. Yoshiro pi pH £1$. Chomei:
Yoshi in Jfi| [ZH RL Was a famous
1320. Yugetsu £ . Uji: Takeda
Na: Nobuoki fjf f|. Azana:
ceramist of Yamashina, Kyoto.
Hidehira^ qL Bunsei (1818-1829).
Also made ceramic netsuke. See
Was placed in charge of the handi-
mosha (No. 180).
work of the Maeda family of Kana-
1309. Yoshitada &. Middle. zawa. Later was put in charge of
Wood. repair and construction, for which

1310. Yoshitada Late.

he received 500 koku (about 2,500
bushels) of rice. Excelled in elabo-
Ivory.
rate wood carving. During Bunsei
1311. Yoshitaka H Middle.
constructed the Minzan ceramic
Ivory. kiln at Kasugayama and made
1312. Yoshitomo ^ £. Early porcelain. Died on September 13,

middle. Ivory. 1844.

1313. Yoshitoshi ^ ^Ij. Ondoku: 1321. Yugyokusai If- Mid-

Keiri. See Keiri (B 473). dle. Ivory.

YOMIN YUGYOKUSAI •
309
 182. YUSAI

1322. Yugyokusai 3£ . Mid- -Z-

dle. Ivory.
1335. Zemin |k Some netsuke
1323. Yukimune Chomei: with his signature are found.
Yukimune ^ Lived subsequent
to Kaei (1848-1853). Some of his 1336. Zeraku |k Lived near
ivory mask netsuke are found. Sanjukken-bori, Edo.

1324. Yukodo |gg jf| See Sekiho 1337.Zeshin H [f|. Tomyo: Shibata
(B 939). Kametaro ^ 0 HX E|$, but later

1325. Yukoku Late. Wood.

changed to Shibata ^ Junzo [B jig

See Fig. 66.

Go: Reisai ^ ^ or Zeshin ^ (g.
Chomei: Zeshin ^ ^ or Makie Ze-
shin R- Meiji (1868-1911).
1326. Yumehachi ^ A- Ondoku:
Called himself Tairyukyo
Muhachi. See Muhachi (B 726). g.
Studied gold lacquering with Koma
1327. Yumin ^ J£. Middle. Kansai sfe %
and painting
Wood. with Suzuki Nanrei yfc &
Later went to Kyoto and entered
1328. Yusai Hf. Early middle.
the school of Okamoto Toyohiko
Was a gold-lacquer artist but also
made netsuke. [SO df H Associated with Kaga-
wa Keiki # Jl| ikm, Rai Sanyo
1329. Yusai ^ Middle. Was ill H, and others, from whom
a gold-lacquer craftsman. he learned a great deal. Visited the
Sansei-ji of the Tofuku-ji complex
1330. Yusai |^| . Chomei: Yusai
to sketch the 16 Rakan (Buddhas)
$£| Late. Carved netsuke repre-
made by Ryumin Ri. Subsequently
senting mushrooms in a basket so
overcame innumerable obstacles in
cleverly that the mushrooms,
order to buy the 1 6 Rakan, a story
although mobile, do not fall free.
that is repeated to this day with
See mosha (No. 182).
undiminished admiration. Made a
1331. Yusen f|ij. Middle. Ivory. detailed study ofgold-lacquer paint-
ing in order to retain the qualities
1332. Yusen {\\\. Middle. Wood. of sumi-e (ink paintings) in this
medium. Developed painting in
1333. Yushu jjfc |b Middle. Wood.
lacquer and other original ideas.
1334. Yuzan ^ [1| . Middle. Wood. Rendered great service during

310 • INDEX OF NETSUKE CARVERS

 —

&
r.

183. 184. 185.

ZESHIN ZOROKU ZUISHO

the Meiji era to the field of lacquer. people of his district as a genius in
Was an examiner for various ex- lacquer and in carving. Zokoku
and in 1890 was elected
hibitions served the various daimyo of
tomembership in the Imperial Art the Takamatsu clan Matsudaira —
Committee. Died on July 13, 1891, Raien, Yoritane, and Yorifusa
at the age of 85. Occasionally made and at their orders created fine
gold-lacquer even
netsuke and carvings. As a result he rose to sa-
carved netsuke. See Fig. 197. See murai status. In addition to carv-
mosha (No. 183). ing, was good at waka poetry. Oc-
casionally worked in porcelain and
(Zingetsu: see Jingetsu.)
called his work Fuigo pottery.
1338. Zokoku ^ Uji: Fujikawa
1339. Zoroku Zo-
H Jl|. JVa: Isan §§ Tsusho: Keizo tv Chomei:

ffc 3|r. Go: Zokoku ^ Chomei:

roku ^ Tv Was a famous ceramist
of Kyoto. Also made ceramic ne-
Zokoku ^ Born on October 4,
tsuke. See mosha (No. 184).
1806. Lived east of the Fujimori
Kojinja, Takamatsu City, Sanuki 1340. Zuigyoku ^ 3£. Chomei:
3

Province. Used an alias of Shisei Zuigyoku ^ 3£. Koka through Keio

T ffc- Also used a family name of (1844-1867). Ivory.
Tamakaji Up, which some people
1341. Zuikoku Late. Ivory.
say was given him by the daimyo
of the clan, but this opinion is 1342. Zuisho ^ Uji: Hotta ^
incorrect. He composed the name [U. Chomei: Zuisho ^ Born in
of Tamakaji of his own volition, 1835. Came from Tajima (Hyogo
using two characters from a famous Prefecture) but later moved to
saying of Resshi (Lieh-tsu), a Chi- Tokyo. Studied painting with Tai-
nese Taoist, about a man who uses zan (f^ [1|) and made carvings in
precious stones to make paper from the Taizan style. Excelled in carv-
mulberry leaves. His family busi- ing wood and bamboo. Originated
ness was that of selling lacquer and the Hotta type of lacquer for
painting scabbards. He excelled in lacquering. Died on September 8,

colored lacquer, tsuishu, and 1916, at the age of 80. See mosha
tsuikoku. Greatly respected by the (No. 185).

YUGYOKUSAI ZUISHO •
311
 1

Bibliography

Akamatsu, Keifuku: “Tamakaji ZokokuO” (Old Man Tamakaji Zokoku),

Shoga Kotto £asshi (Magazine of Calligraphy, Painting, and Curios), No.
299, May 1, 1933
Brockhaus, Albert: JVetsuke (English edition), 1924
: (German edition), 1905
JVetsuke
Dillon, Edward: The Arts of Japan (3rd edition), 1911
Edo, Seisai: Kotto Shu (Collection of Curios), 1804-1817
Fukuda, Yasuzo: Tabako no Hanashi (The Story of Tobacco), 1933
Gempuan, Shujin: “Netsuke ni Tsuite” (On Netsuke), Shoga Kotto J^asshi
(Magazine of Calligraphy, Painting, and Curios), Nos. 243-246, Sep-
tember 1, 1928
Gonse, Louis: V
Art Japonais, 1883
Hayashi, Yonosuke: Makieshi Den JVurishi Den (History of Lacquerers and
Gold Lacquer Craftsmen), 1927
Hokusai, Katsushika: Banshoku fjuko (Illustrations of Multitudinous Oc-
cupations), 1835-1850
: Hokusai Manga (Caricatures by Hokusai), 15 vols., 1814-1878
Ido, Fumihito: Fukuromono (History of Japanese Bags), 1919
Iizuka, Beiu: “Examination of Netsuke,” Shoga Kotto J^asshi (Magazine
of Calligraphy, Painting, and Curios), No. 237, March 1, 1928
Imperial Household Museum: Brief History of the Art of Imperial Japan, 1916
Compendium of Artistic Crafts, 1 92
:

Inaba, Tsuryu: SokenKisho (Appreciation of Superior Sword Furnishings),

1781
Isai, Katsushika: Bambutsu %ukai Isai Gashiki (Isai’s Designs for Every-
thing), 1864
: Kacho Sansui Jushiki (Illustrations of Flowers, Birds, Mountains, and
Rivers), dateunknown
Japan Society of London: Transactions and Proceedings, Vol. Ill (Fourth
Session), 1894-1895

BIBLIOGRAPHY •
313
A.
Kiuchi, Hango: “History of Ivory Sculpture,” Shoga Kotto £asshi (Magazine
of Calligraphy, Painting, and Sculpture), No. 65, November 10, 1913
Kogetsu, Ro-o: Sakasuikoshu (Brief Biographies of Old Tea Masters), 1852
Kuwabara, Yojiro: ^oho Kokin Soken Kinko Ichiran (Supplementary List of
Swords and Goldsmiths of Ancient and Modern Times), 1927
Matsumura, Shofu: Sketches of Recent Famous Artists, 1924
Mondo, Jokei: Mondo Shokei (Life Sketch ofMondo), 1917
Naito, Masamune: Tokyo Chokokai Shi (History of the Tokyo Society of
Carvers), 1927
Niryu, Sensei: Choko Hinagata (Designs of Art Craftsmen), 1827
Ohara, Mitsuhiro: Takarabukuro (Bag of Treasures), 1837
Ono, Gemmyo: Summary of Buddhist Art, 1925
Osaka Prefectural Arts and Crafts Association Kyodo Meiko
: narabi ni Jocho
Shorei Korosha Shoden (History of Famous Folk Artists Who HaveEn-
couraged and Promoted Artcrafts), 1931
: Osaka-fu Kogei Kyokai Kai-in Meibo (List of Members of the Osaka Pre-
fectural Artcrafts Society), 1930
Sasaki, Chujiro: Nihon no Netsuke (The Netsuke of Japan), 1936
Sasaki, Kosei Sculpture of Japan, 1 922
:

Rokkaku: Shikko Shi (History of Lacquerers), date unknown

Shisui,
Takamura, Koun: Koun Kaikodan (Reminiscences of Koun), 1929
Takeda, Denuemon: Bijutsu Chokoku Gafu (Art of Sculpture Illustrated),
1892
Takeuchi, Kyuichi: Articles on netsuke in Shoga Kotto £asshi (Magazine
of Calligraphy, Painting, and Curios), Nos. 68-70, February 1, 1914
: “Hashi-ichi, a Lacquer Artist,” Shoga Kotto Zasshi (Magazine of
Calligraphy, Painting, and Curios), No. 72, June 1, 1914

“Netsuke,” Encyclopedia of Japan, 1919

:

Tamai, Kyujiro: Morikawa Toen Shoden (Sketch of the Life of Morikawa

Toen), 1931
Tokyo Art Academy Alumni Association: Kinko zotetsu, 1898
Tokyo Meibo Kenshokai (Tokyo Association for Honoring Famous Grave-
stones) Zasshi Sotai (Magazine of Moss Cleanings), date unknown
:

Ueda, Reikichi: Shumi no Netsuke (Netsuke as a Hobby), 1934

Yokoi, Tokifuyu: Kogeisho (Crafts and Reflections), 1927

Addenda
Barbanson, Adrienne: Fables in Ivory, 1961
Lanfranchi, G. V.: II Netsuke, Un’ Arte Giapponese, 1962
Meinertzhagen, Frederick: The Art of the Netsuke Carver, 1956
Okada, Yuzuru: Netsuke, A Miniature Art of Japan, 1951
Roth, Steg: Netsuke (in Swedish and English), 1933
Ryerson, Egerton The Netsuke of Japan, 1 958
:

Tollner, Madeline R. Netsuke, The Life and Legend of Japan

: in Miniature,
1954
Volker, T The Animal in Far Eastern Art, 1950
:

314 • BIBLIOGRAPHY
 , ,

Glossary-Index

abacus (soroban) netsuke, 66 bekko, see tortoise shell

agate (meno) netsuke, 77 Bijutsu Chokoku Gafu (Art of Sculpture
ama, see diving girl Illustrated), 108, 203
amagatsu, see good-luck doll black coral (umimatsu) netsuke, 47 (Fig.
amber (kohaku) netsuke, 77, 145 (Fig. 46), 77, 102 (Fig. 108)
146) black lacquer (tsuikoku) netsuke, 77, 188
anabori (cavern carving), 96 (Fig. 96), 110 (Fig. 197)
Anchin (priest ofDojo-ji), 110 black persimmon wood (kurokaki) netsuke,
Anraku Shukosai, 52 (Fig. 55) 74
apricot stone (angu no tane) netsuke, 74 boar tusk (inoshishi no kiba) netsuke, 75,
Ariomaru, 150 (Fig. 155) 82 (Fig. 67)
Arts of Japan (Dillon), 203 Bokuzan, 127
Asahina Saburo, 184 (Fig. 190) bone (hone) netsuke, 39 (Fig. 30), 77
Asakusa dolls, 114 boxwood (tsuge) netsuke, 54 (Fig. 59), 73-
Ashikaga era, use of netsuke in, 61 74, 126-27
Ashinaga (Longlegs), 109 brass wire (shinchu harigane) netsuke, 76
ash-tray (kurawa) netsuke, 36 (Fig. 21), 37 Brief Accounts of Visits to Osaka Gravestones,
(Fig. 24), 56, 66, 76 208
asobinin (gamblers and drifters), 109 Brockhaus, Albert (Netsuke) 203; see also
Asuka era, sculpture of, 24 collectors and collections
azana (nickname), 213 Buaku mask, 29 (Fig. 5)
Buddhist gong (mokugyo) netsuke, 151 (Fig.
bakemono (demons and fiends), 47 (Fig. 46), 157), 162, 195 (Fig. 210)
141 (Fig. 136) Bugaku dance, 24 (fn), 137 (Fig. 130)
bamboo netsuke, 44 (Fig. 38), 77,
(take) Bukan Zenshi, 54 (Fig. 59)
151 (Fig. 157), 200 (Fig. 225) “Bumbuku Chagama” (The Miraculous
bamboo root (chikkon) netsuke, 77, 200 Teakettle), 100 (Fig. 106)
(Fig. 225) Bunka and Bunsei periods, use of netsuke
Bambutsu £ukai Isai Gashiki (Isai’s Designs in, 63, 164
for Everything), 108, 203 Bunshojo, 129, 140 (Fig. 135)
Bandoyaki netsuke, 76 butterfly dance (kocho no mai) 149 (Fig.
Banshoku £uko (Illustrations of Multitudi- 153)
nous Occupations), 108, 203 byakudan, see sandalwood
Basho, 170
Bazan, 128, 134 (Fig. 125) camellia wood (tsubaki) netsuke, 74
bearded sennin, 139 (Fig. 133); see also camphorwood (kusunoki) netsuke, 74
sennin cane (to) netsuke, 38 (Fig. 27), 77, 123
Beisai, 130 carved dry lacquer (kanshitsu) netsuke, 77

GLOSSARY-INDEX •
315
 ,

carving characteristics of materials, 73-78 dances portrayed in netsuke, see Bugaku

carving styles, 74-77, 110, 122, 125-26, dance, butterfly dance, Gigaku dance,
129, 171 ;
see also anabori, ittobori, Kama- lion dance, Noh dance, Okina dance,
kura-bori, Kokusai-bori, saishoku, subori shojo dance
cast metal (imono) netsuke, 36 (Fig. 21), 76 Daruma, 45 (Fig. 40), 87 (Fig. 76), 105
cavern carving, see anabori (Fig. 115), 109, 110, 136 (Fig. 128)
cha, see tea wood Deme family, 110, 114, 118, 162
Character Sketches of Osaka Citizens, 208 Deme Joman, 45 (Fig. 41), 114
cherry wood (sakura) netsuke, 28 (Fig. 3), Deme Saman, 14 1

74 Deme Uman, 14, 125 1

Chikamasa Shominsai, 171 designsand subjects of netsuke, 55-57, 62,

Chikayuki Fukushima, 114 70-71, 107-12, 115-16, 159-62, 169-72,
chikkon, see bamboo root 174; Chinese influences on, 62, 169,
Chikuden Tanomura, 171 201; limitations on, 107-8; mechanical
Chiku-unsai, 152 (Fig. 158) secrets of, 161; related to poetry, 170;
Chinai, 40 (Fig. 31) related to ukiyo-e, 171; source books for,
Chinese subjects and influences, 62, 169, 108-9, 119, 125, 169, 203
201 Dillon, Edward
(Arts of Japan) 203
Chohi, 31 (Fig. 9), 50 (Fig. 52) diving (ama), 82 (Fig. 66), 87 (Fig. 77),
girl
Choka, 90 (Fig. 84) 133 (Fig. 123), 140 (Fig. 134)
Chokaro Sennin, 194 (Fig. 208) Dohachi Niami, 115
chokoku (sculptured), 215 Dojo-ji, 105 (Fig. 116), 110
Chokwa, see Choka doll (ningyo) netsuke, 56, 114; see also Asa-
Chokwaro, see Chokaro kusa dolls, good-luck doll, monkey doll,
chomei (carved signature), 213 Nara dolls, Noh dolls, Uji dolls
Chomin, 47 (Fig. 46), 152 (Fig. 159) Doraku Anrakusai 51 (Fig. 53), 179 (Fig.
chonin (tradesmen), 85 (Fig. 73), 124, 136 181), 207
(Fig. 129) Dorakusai, see Doraku Anrakusai
Chuichi, 168 Doshaku (Drawings of Saints of Buddhism
Chukyo area, netsuke produced in, 126— and Taoism), 169
29 Dosho Kagei, 101 (Fig. 107), 119, 122, 197
classification of netsuke, 55-57 (Fig. 216), 207
cloisonne (shippoyaki) netsuke, 66, 80 (Fig.
63) ebony (kokutan) netsuke, frontispiece (Fig.
and collections, 26, 165, 168, 174,
collectors 1), 74, 185 (Fig. 191)
203-4; Baron Go, 204; Brockhaus, 203; Echigo district, netsuke produced in, 129—
Ejima, 204; Fujii, 204; Tokyo Imperial 30
Household Museum, 168, 204; Jonas, Echizen district, netsuke produced in, 129—
203; LePage, 204; Sasaki, 204;'Tani- 30
gawa, 204; Taniguchi, 204; Yamaguchi, Edo area, netsuke produced in, 124-26
204; Yasuda, 204 Edo era, see Tokugawa era
Complete History of Osaka, 208 Ehon Makuzugahara (Picture Book of Maku-
copper wire (dosei harigane) netsuke, 36 zugahara), 69
(Fig. 22), 76 Eisai, 32 (Fig. 13)
coral (sango) netsuke, 77, 106 (Fig. 117) Ejima Shojiro, see collectors and collections
cypress (hinoki) netsuke. 73, 74, 109, 119, Enshi, 190 (Fig. 200)
125 erotic netsuke, 111-12
export of netsuke, 162, 166-68, 172, 174
dagger netsuke, 53 (Fig. 58), 66
Daikoku, 35 (Fig. 19), 71, 79 (Fig. 60) fables illustrated in netsuke, see “Bumbuku
Daisen, 36 (Fig. 23) Chagama,” “Shitakiri Suzume”

316 • GLOSSARY-INDEX
 , , , ,

Fenollosa, Ernest F., 173 Gyokuyosai, 146 (Fig. 147)

filial piety, see Nijushiko Gyokuzan Asahi, 35 (Fig. 19), 110, 125
flint bag (hiuchi-bukuro) 58-59 126, 173
forgeries, 111, 116, 120, 162, 168; see also Gyuka Kamibayashi, 55 (Fig. 61), 124, 171
signatures and seals
fossil wood (umoregi) netsuke, 77 haiku (17-syllable poem), influence on ne-
fuchi (pommel), frontispiece (Fig. 1), 30 tsuke, 170
(Fig. 8) ;
sword furnishings
see also Hakuryu, 123
fuchigashira (pommels), frontispiece (Fig. Handaka Sonja, 89 (Fig. 82), 192 (Fig
1), 30 (Fig. 8), 76; see also sword fur- 202 )
nishings hanko (stamped seal), see in
Fugen Bosatsu, 195 (Fig. 211) Hannya (female demon) mask, 24 (fn), 109
Fujii Zensuke, see collectors and collections Haritsu, see Ritsuo
fujimame, see wisteria bean Harumitsu, 151 (Fig. 156)
fujizuru, see wisteria vine Hashi-ichi, 115
funny-face mask, 25 (fn), 46 (Fig. 43) Hayashi Razan (Razan Bunshu) 60
Heita, 196 (Fig. 214)
Gama (Toad) Sennin, 92 (Fig. 89), 178 Hida district, netsuke of, 129, 130
(Fig. 178) Hidari Issan, 130, 136 (Fig. 128)
Gechu, 179 (Fig. 180) Hidechika, 147 (Fig. 149)
Gedo mask, 91 (Fig. 87) Hidemasa, 147 (Fig. 150), 155 (Fig. 165)
Gekkei Matsumura, 171 himotoshi (cord holes), 121, 125, 160
Genroku period, use of netsuke in, 60, 62, hinoki, see cypress
69 hippopotamus tooth (kaba no ha) netsuke,
Genryo, 139 (Fig. 133); see Minkoku 75
Gigaku dance, 24-25 (fn) Hiradoyaki netsuke, 76, 92 (Fig. 89), 115
Gigaku masks, 24-25 (fn), 82 (Fig. 65), 90 Historical Relicsand Monuments of Osaka, 208
(Fig. 84) hitotsusage (single hanging article), 55
gisaku (copy), 215 hiuchi-bukuro, see flint bag
glass (garasu) netsuke, 77 hogan (honorary art title), 109, 118
go (art name), 213 Hohaku Shoju, 123
go (Japanese checkers), 85 (Fig. 73) Ho-ichi, 85 (Fig. 72)
Go, Baron, see collectors and collections Hojitsu, 97 (Fig. 101), 103 (Fig. 112), 111,
gold (kin) netsuke, 76 125, 126, 180 (Fig. 182), 209
gold bronze (shakudo) netsuke, 36 (Fig. 23), Hokufu, 130
76 Hokusai Katsushika (Banshoku zjuko, Man-
gold lacquer (makie) netsuke, 131 (Fig. ga), 108, 125, 127, 171,203
119), 188 (Fig. 196) Hokusai’s Manga, see Hokusai Katsushika
Gonse, Louis (VArt Japonais) 203 hokyo (honorary art title), 118
good-luck doll (amagatsu) 104 (Fig. 114) Hokyu Shoju, 123
Goto Masayoshi, 96 (Fig. 98) Homin, 148 (Fig. 151)
gourd (hyotan) netsuke, 44 (Fig. 37), 59, Honcho Seiji Dangi (Discourses on Worldly
60, 61, 77 Affairs), 60
Gravestone Annals of Famous Families of Nani- honorary art titles, see hogan, hokyo, tenka-
wa, 208 ichi

Gyokkei, 143 (Fig. 140) Horaku, 157 (Fig. 168)

Gyokkin Iida, 77, 119, 122, 207 Horeki period, use of netsuke in, 62, 113
Gyokumin, 178 (Fig. 178) horn (tsuno) netsuke, see rhinoceros horn,
Gyokusai, 143 (Fig. 141) staghorn, water-buffalo horn
Gyokuso, 87 (Fig. 77), 146 (Fig. 148), 149 hornbill casque (
hoten ), 40 (Fig. 31), 78,
(Fig. 153), 195 (Fig. 211) 121, 158 (Fig. 170)

GLOSSARY-INDEX •
317
Hoshin, 44 (Fig. 38) Jo mask, 199 (Fig. 222)
Hoshin (of Kyoto), 110 Jocho, 118
Hotei, 43 (Fig. 36), 180 (Fig. 182) Jonas, F. M. (Netsuke), 203; see also collec-

noten, see hornbill casque tors and collections

Hozan, 29 (Fig. 5), 99 (Fig. 103), 118 Joryu, 150 (Fig. 154)
Hozen, 115, 123 Joso, 105 (Fig. 115), 125, 126
Hyottoko mask, 91 (Fig. 88) Jugyoku, 125, 150 (Fig. 155), 154 (Fig.
164)
Ibeyaki netsuke, 76 jujube wood (natsume) netsuke, 74
ichii, see yew Jurojin, 148 (Fig. 151)
Ichiraku, 103 (Fig. Ill)
tchiraku netsuke, 36 (Figs. 22 and 23), 38 Kabuki actors, use of netsuke by, 59-60
(Figs. 27 and 28), 56, 77, 123 Kabuki entertainer, 85 (Fig. 72)
Ihei, 36 (Fig. 22) Kabuki Koto Hajime (Roots of Kabuki), 60
narwhal tusk
ikkaku, see Kabuki £oshi (Kabuki Pictures), 59
Ikkaku Sennin, 99 (Fig. 104); see also kagamibuta netsuke, 31 (Figs. 10 and 11),
sennin 32 (Figs. 12 and 13), 35 (Fig. 19), 55-56,
Ikkan, 109, 127 76, 110, 114, 171-72
Ikkyu, 177 (Fig. 175) Kagetoshi, 153 (Fig. 160)
213
in (seal), kaibutsu (mythical animal), 199 (Fig. 221)
Inaba Tsuryu (Samekawa Seigi, Sarasafu, Kaigyoku Masatsugu, see Kaigyokusai
SokenKisho), 119, 201-2, 207-8 Masatsugu
ink stick (sumi) netsuke, 77, 103 (Fig. 113), Kaigyokusai Masatsugu, 41 (Fig. 32), 75,
188 (Fig. 197) 78, 83 (Fig. 70), 86 (Figs. 74 and 75),
inlaid netsuke, 49 (Fig. 50), 74, 83 (Fig. 110, 111, 119, 120-22, 126,204,207,209
69), 87 (Fig. 76) Kaigyokusai Yasunaga, see Kaigyokusai
inro (seal or medicine case), 25, 27 (Fig. 2), Masatsugu
59, 60-61, 64, 77, 107, 159 kaimyo (posthumous Buddhist name), 213
Insai, 1 10 Kaioku Nukina, 171
Isai Katsushika (Bambutsu £ukai Isai Gashi- Kajikawa, 115
ki), 108, 203 kakihan (written seal), 116, 118, 213
Ise district, netsuke produced in, 128 Kamakura-bori (Kamakura carving), 77
Ishiguro Masayoshi, 96 (Fig. 98) Kamakura carving, see Kamakura-bori
Ishikawa Komei (Mitsuaki), 125, 156 Kamakura era, sculpture of, 24, 25, 26;
(Fig. 167), 173 use of netsuke in, 61
Issai Ogasawara, 75, 85 (Fig. 73), 88 (Fig. Kambun period, use of netsuke in, 62
80), 89 (Fig. 82), 123 Kaminari (Raijin), 193 (Fig. 204); mask,
Issan, see Hidari Issan 90 (Fig. 85)
ito-in (Chinese copper seals), 62 Kamman, 129
Ittan, 128 kanabuta netsuke, see kagamibuta netsuke
ittobori (single-knife carving), 39 (Fig. 29), Kaneda Kanejiro, 173
45 (Fig. 40), 74, 123, 129, 135 (Fig. 126) Kanei period, use of netsuke in, 62
171 Kaneyuki, 114
Ittokusai, 82 (Fig. 65) kanji (Chinese characters), 214
ivory (zoge) netsuke, 74-75, 124, 160-61, Kansai, 115, 188 (Fig. 196)
1 72—73 ; see also tokata Kansai area, netsuke produced in, 1 19-24
Iwami district, netsuke produced in, 129 Kanshin, 30 (Fig. 6)
Iwami Gansui, 82 (Fig. 67) kanshitsu, see carved dry lacquer
Kan-u, 31 (Fig. 9), 191 (Fig. 201)
Japan Art Association, 174 Kanzan and Jittoku, 109
Jiseki Goko (Historical Commentaries), 59 kao (written seal), see kakihan

318 • GLOSSARY-INDEX
 , )

kappa (water imp), 88 (Fig. 78), 194 (Fig. Kumasaka mask, 45 (Fig. 41)
207) kundoku (Japanese pronunciation of Chi-
karako (happy Chinese boy), 52 (Fig. 55), nese characters), 214
146 (Fig. 147) kurawa, see ash-tray netsuke
karashishi (Chinese lion), see shishi kurokaki, see black persimmon
Kaseyamayaki netsuke, 76 kusabi, see pine
kashira (pommel), frontispiece (Fig. 1), kusunoki, see camphorwood
30 (Fig. 8) ;
see also sword furnishings Kutaniyaki netsuke, 76
katabori netsuke, 55-56 Kwaigyoku, see Kaigyoku
Katsushika Taito, see Hokusai Katsushika Kwaigyokusai, see Kaigyokusai
kawa, see leather, leather netsuke Kwansai, see Kansai
Kazutomo, 154 (Fig. 162) Kyogen masks, 24-25 (fn), 29 (Fig. 5),
Keiraku, 53 (Fig. 58) 91 (Fig. 88), 109
kendo mask, 43 (Fig. 35) Kyogyoku, 90 (Fig. 85)
Kenya, 93 (Fig. 91), 115 Kyokusai, 96 (Fig. 97), 156 (Fig. 166)
Kidomaru, 152 (Fig. 158) Kyoto, netsuke produced in, 123
kigai, see yellow pearl Kyoyaki netsuke, 76
kinchaku (purse), 40 (Fig. 31), 55, 59-60 Kyubei Tobutsu, 36 (Fig. 21), 66, 76, 122-
kinkara, see leather 23, 204, 207
Kintaro, 179 (Fig. 181) Kyuichi Takeuchi, 61, 125, 126, 173, 202
kirin (fabulous animal), 34 (Fig. 17), 144 Kyusai Hirai, 51 (Fig. 54), 103 (Fig. 113),
(Figs. 144 and 145), 187 (Fig. 194) 119, 122, 195 (Fig. 2 10)
Kitei, 115, 123
Kiyohime, 105 (Fig. 116), 110 lacquer netsuke, 27 (Fig. 2), 57, 62, 64,
Kiyomizuyaki netsuke, 76, 115 76-77, 115, 129, 131 (Fig. 119), 158
Kiyoshi, 185 (Fig. 191) (Figs. 169 and 171), 175 (Fig. 172), 188
Koetsu Honami, 62 (Figs. 196 and 197)
Kogetsu (Sakasuikoshu) 202 lacquered ivory netsuke, 106 (Fig. 118)
kohaku, see amber lacquered wood netsuke, 53 (Fig. 58), 74,
Kohosai, 154 (Fig. 163) 199 (Fig. 223)
Kojitsu, 197 (Fig. 215) L’Art Japonais (Gonse), 203
Kokei, 110, 128, 133 (Figs. 122 and 123) leaf-clad sennin, 39 (Fig. 30) ;
see also
Kokeisai, Sansho Wada
see sennin
koku (carved), 215 leather (kawa), types, 71
Koku, see Kokusai Takeda leather (kawa) netsuke, 46 (Fig. 44)
Kokusai Takeda, 35 (Fig. 20), 37 (Fig. 26), LePage, Ivan, see collectors and collec-

75, 125-26 tions

Kokusai-bori (Kokusai carving), 35 (Fig. lighter netsuke, 66
20), 37 (Fig. 26), 125-26 lion dance (shishimai), 99 (Fig. 103), 131
kokutan, see ebony (Fig. 119), 184 (Fig. 189), 193 (Fig. 205)
Koma Bunsai, 131 (Fig. 119) literature on netsuke, 201-4
Komachi, 176 (Figs. 173 and 174), 190
(Fig. 199) mage, see twisted wood or paper
Komei Ishikawa, see Ishikawa Komei makie, see gold lacquer
Komin, 138 (Fig. 131) makie (gold lacquerer’s signature), 215
Kosetsu, 31 (Fig. 9) malachite (kujakuseki netsuke, 47 (Fig. 47)
Koteisai, 106 (Fig. 118) Manga, see Hokusai Katsushika
Kotto Shu (Collection of Curios), 60, 69 manju netsuke, 33 (Fig. 14), 34 (Fig. 15),
Koun Takamura, 125, 126, 167, 205-6 35 (Fig. 18), 55, 56, 110, 160, 171-72
kozuka (dagger), 30 (Fig. 7); see also sword manzai (itinerant entertainers), 97 (Fig.

furnishings 101 )

GLOSSARY-INDEX •
319
Masahiro, 176 (Fig. 173) Mitsuoki Otsuki, 1 14
Masakatsu, 179 (Fig. 179) Mitsusada, 183 (Fig. 187)
Masakazu Sawaki, 91 (Fig. 88), 127, 132 Mitsutoshi, 183 (Fig. 188)
(Fig. 120), 207 Miwa, 28 (Fig. 3), 74, 83 (Fig. 68), 84
Masakiyo, 178 (Fig. 176) (Fig. 71), 125
Masamitsu, 130 Mokubei, 115
Masanao (of Kyoto), 104 (Fig. 114), 123 mokugyo, see Buddhist gong
Masanao (oflse), 102 (Fig. 1 10), 1 10, 1 18, Momoyama era, sculpture of, 24; use of
128, 203 netsuke in, 60-61
Masanao II (oflse), 94 (Fig. 92) Mondo, see Ryukei Tanaka Mondo
Masatami, 176 (Fig. 174) monjin (pupil of), 118, 215
Masatoshi Sawaki, 127, 168, 207 monkey doll (saru ningyo) 83 (Fig. 68)
Masatsugu, 44 (Fig. 39); see Kaigyokusai mosha (facsimile signature), 214
Masatsugu Moso, 3 1
(Fig. 1
1

Masayasu, 43 (Fig. 35) mother-of-pearl (chogai) inlay, 74

Masayoshi, 130 Moto-ori Norinaga, 171
Masayuki, 91 (Fig. 87), 180 (Fig. 183) Murasada, 95 (Fig. 95)
masks (men), 24, 24-25 (fn), 109; see also
Buaku, funny-face, Gedo, Gigaku, Hyot- na (given name), 214
toko, Jo, Kaminari, Kumasaka, Okame Nagamitsu, 96 (Fig. 96)
(Ofuku), Okina, Otoko, and tengu masks Nagato inro, 59; see also inro
Matauemon Kishu, 123 Nagato pipe case, 164
materials of netsuke, 73-78; see also specific namban (southern barbarian), 186 (Fig.
materials 193), 195 (Fig. 209)
mei (artist’s name), 214 nanako (fish-roe) ground, 30 (Fig. 7)
Meibutsu Rokujo (Six Volumes of Note- Naotsugu, 197 (Fig. 217)
worthy Objects), 55, 201 Nara district, netsuke produced in, 123

Meiji period, use of netsuke in, 164-65, Nara dolls (Nara ningyo) 39 (Fig. 29), 123,
172 129, 171
Meikeisai, see Hojitsu Nara era, sculpture of, 23-24, 25, 26
men, see masks Nara ningyo, see Nara dolls
menuki (hilt ornament), 31 (Fig. 9), 76; see Narihira, 30 (Fig. 8)
also sword furnishings narwhal tusk ( ikkaku ) netsuke, 64-65, 75
metal netsuke, 36 (Figs. 21-23), 37 (Fig. natsume, see jujube
24), 43 (Fig. 35), 66 76, 80 (Fig. 63) Natsuo, 31 (Fig. 10)
midake (Matsushima bamboo), 77; see also negoro lacquer netsuke, 77, 159 (Fig. 172);
bamboo see also lacquer netsuke
Mikawaya Kozaburo, 166-67 netsuke, artistic level of, 26, 62, 113, 115-
Minko, 110, 111, 128, 134 (Fig. 124), 142 16, 168, 172; carvers, 113-18, see also
(Fig. 138), 170 netsuke artists;carving styles, 74—77,
Minkoku, 139 (Fig. 133), 182 (Fig. 185 110, 122, 125-26, 129, 171; Chinese
and 186) subjects and influences 62, 171, 201;
Mino district, netsuke produced in, 128 classification of, 55-57 ;
collectors and
“Miraculous Teakettle,” see “Bumbuku collections, 26, 165, 168, 174, 203-4;
Chagama” decline of, 164-65; designs and subjects,
Mitsuaki, see Ishikawa Komei 55-57, 62, 70-71, 107-12, 115-16, 159-
Mitsuhiro, 30 (Fig. 6) 62, 169-72, 174; determining age of,
Mitsuhiro Ohara, 97 (Fig. 100), 100 (Fig. 61, 162-63; distinguished from okimono,
106), 1 10, 1 19, 122, 204, 207, 208 159-60; export of, 162, 166-68, 172,
Mitsumasa Kikuoka, 30 (Fig. 7) 174; foreign interest in, 26, 165, 166-68,
Mitsunaga, 32 (Fig. 12) 172, 174, 203-4; ignored in Japan, 26,

320 • GLOSSARY-INDEX
 , — , )

162, 201; influences on design of, see Oguri Hangan, 148 (Fig. 152)
designs and subjects; literature on, 201 — Oishi Kuranosuke, 97 (Fig. 99)
4; materials of, 73-78, see also specific ojime (sliding bead), frontispiece (Fig. 1),
materials; medicinal use of, 65-66, 150 27 (Fig. 2), 40 (Fig. 31), 41 (Fig. 32)!
(Fig. 154); production spurred by use 60, 71
with tobacco pouch, 68-72 regional ; oju (by request), 118, 215
characteristics of, 119-30; related to Okakura Kakuzo, 173
history of sculpture, 23-26; staining of, Okame (Ofuku, Otafuku, Uzume), 70, 71,
117; subjects of, see designs and subjects; 93 (Fig. 91), 110, 111, 132 (Fig. 120),
trade in, 71-72, 111, 167-68; types, 55- 138 (Fig. 132), 147 (Fig. 150), 188 (Fig.
'

57 196); masks, 70, 109, 113

Netsuke (Brockhaus), 203 Okano family, 123
Netsuke (Jonas), 203 Okatomo 110, 123, 194 (Fig. 206)
netsuke artists, 113-18; ceramists, 115, okimono (alcove ornament), 74, 159, 160,
123; commercial carvers, 124; doll- 172-73; copied from netsuke, 172-73
makers, 1 14; freedom of expression, 111, okina (old man), 215
161; identification of, 116-18, 162; lac- Okina dance, 196 (Fig. 212)
querers, 115; mask carvers, 114; metal- Okina mask, 24-25 (fn), 29 (Fig. 4), 109
workers, 113-14; status of, 161 ; training oko (to please the taste of), 118, 215
of, 173, 174; see also individual artists Okyo Maruyama, 120, 171
Netsuke as a Hobby (Shumi no Netsuke Omi Hakkei (Eight Views of Omi), 96
Ueda), 202, 206 (Fig. 96)
Netsuke of Japan (Sasaki), 202-3 ondoku (Chinese reading in Japanized pro-
Nichiren, 152 (Fig. 159) nunciation), 214
Nijushiko (Twenty-four Paragons of Filial oni (demon), 32 (Fig. 13), 84 (Fig. 71), 95
Piety), 31 (Fig. 11), 51 (Fig. 53), 190 106 (Fig. 117), 113-14, 136
(Fig. 94),
(Fig. 200) (Fig. 129), 153 (Fig. 161), 154 (Fig. 163),
nimosu (imitated), 118, 215 175 (Fig. 172), 189 (Fig. 198)
ningyo, see doll netsuke Onkoyaki netsuke, 76
Ninsei, 43 (Fig. 36), 115 Ono no Komachi, see Komachi
Nio (temple guardians), 24, 28 (Fig. 3), Ono no Ryomin, see Ryomin
84 (Fig. 71), 143 (Fig. 141), 189 (Fig. Ono no Tofu, 90 (Fig. 83), 200 (Fig. 226)
198) Osaka, netsuke produced in, 1 19-22
Nishikawa Sukenobu (Ehon Makuzugaha- Osaka Arts and Crafts Association, 202,
ra) 69 206-7
Nobumasa, 184 (Fig. 189) Otafuku, see Okame
Noh dance, 99 (Fig. 103), 106 (Fig. 118), Otoko mask, 90 (Fig. 84)
131 (Fig. 119), 196 (Fig. 212) Otoman Matsushita, 130, 184 (Fig. 190),
Noh dolls, 39 (Fig. 29), 110, 123 198 (Fig. 218)
Noh masks, 24, 24-25 (fn), 29 (Fig. 4), 45
(Fig. 41), 90 (Fig. 85), 91 (Fig. 87), 109, paulownia wood (kiri) netsuke, 128
110, 114, 199 (Fig. 222) peachstone (momo no tarn) netsuke, 74
Nonoguchi Ryuho, 62, 114 pine (kusabi) netsuke, 74
novelty netsuke, 77 porcelain (jiki netsuke, 43 (Fig. 36), 76,
92 (Fig. 89), 93 (Fig. 91), 115
obiguruma (disk), 55 pottery (toki) netsuke, 115; see also porce-
obiguruwa (link), 55, 60 lain
obihasami (clip or clasp), 55 proverbs illustrated in netsuke, 32 (Fig. 13),
O-bon (festival of the dead) ,
1 82 (Fig. 1 85) 136 (Fig. 129), 141 (Fig. 136), 175 (Fig.
189 (Fig. 198) 172), 194 (Fig. 208)
Ofuku, see Okame purse, see kinchaku

GLOSSARY-INDEX • 321
Raijin, see Kaminari sake-cup netsuke, 53 (Fig. 57)
raku-in (heated seal), 214 saku (made), 118, 215
Rakumin, 193 (Fig. 204) sakura, see cherry wood
Rakuyaki netsuke, 76, 115 Samekawa Seigi (Commentary on Shark-
Ranryo, dance of, 137 (Fig. 130) skin), 202, 207

Rantei, 98 (Fig. 102), 99 (Fig. 104) sandalwood (byakudan) netsuke, 74

rattan, see cane sango, see coral

Razan Bunshu (Collected Writings of Ra- Sankaikyo, 109, 119, 169

zan), 60 Sansho Wada, 100 (Fig. 105), 119, 122

red lacquer (tsuishu) netsuke, 27 (Fig. 2), sansukumi (snail, snake, and frog), 178
77, 158 (Fig. 169) (Fig. 177)
red sandalwood (shitan) netsuke, 82 (Fig. Sanuki district, netsuke produced in, 129
66), 103 (Fig. Ill) Sanzu River, 136 (Fig. 129)

regional characteristics of netsuke, 119-30 Sarasafu (Album of Calico), 202, 207

Rensai, 88 (Fig. 78) saru ningyo, seemonkey doll
Ressendenzu (Pictures of Numerous Sennin, Sasaki Chujiro (Netsuke of Japan) 202-3;
119, 169 see also collectors and collections
rhinoceros horn (saikaku) netsuke, 34 (Fig. Sasaki Takatsuna, 33 (Fig. 14)
17), 75 sashi netsuke, 35 (Fig. 20), 37 (Fig. 26), 56
Ritsuo (Haritsu), 77, 115 sea shell (kai) netsuke, 61, 77
rojin (old man), 215 seals, see signatures and seals
Rokkasen (Six Famous Poets), 180 (Fig. Seikei, 168
183) Seisai Edo (Kotto Shu),
69
Rokurokubi, 141 (Fig. 136) seisaku (produced),215
ronin (masterless samurai), 88 (Fig. 80), 97 Seiyodo school, netsuke produced by, 75,
(Fig. 99) 82 (Fig. 67), 140 (Fig. 135), 142 (Fig.
Ryo, 125, 186 (Fig. 192) 139); see also Iwami district, Tomiharu
Ryomin, 35 (Fig. 18), 194 (Fig. 208), 196 Seizui Hamano, 113
(Fig. 213) Sekiran, 130
Ryonyu, 123 Sekka Shima, 129-30, 207
Ryuan Sennin, 83 (Fig. 70) see also sennin
;
sennin,92 (Fig. 190), 109, 169; bearded,
Ryuho Nonoguchi, see Nonoguchi Ryuho 139 (Fig. 133); Chokaro, 194 (Fig. 208);
Ryujin (Dragon King), 143 (Fig. 142) Gama, 92 (Fig. 89), 178 (Fig. 178); Ik-
Ryukei (of Tokyo), 118, 125, 171 kaku, 99 (Fig. 104); leaf-clad, 39 (Fig.
Ryukei Tanaka Mondo, 119, 207 30); Ryuan, 83 (Fig. 70); tekkai, 161;
Ryukosai, 190 (Fig. 200) Tsuru (Teirei), 97 (Fig. 100)
Ryumin, 34 (Fig. 15), 95 (Fig. 94) Sessai, 118, 129
Ryuryusai, 38 (Fig. 28) Setsubun, 147 (Fig. 150), 154 (Fig. 163)
Ryusa, 56 sha (copied), 118, 215
ryusa netsuke, 34 (Fig. 16), 37 (Fig. 25), 55 shachihoko (mythical dolphin), 53 (Fig. 58)
56, 197 (Fig. 217) Shaen, 34 (Fig. 15)
Ryusai, 186 (Fig. 193) Shakkyo (The Stone Bridge), lion dance
from, 99 (Fig. 103), 131 (Fig. 119), 193
sagemono (hanging object), 55, 58, 60, 107 (Fig. 205)
saishoku (painted carving), 79 (Figs. 60 and shakudo, see gold bronze
61), 122 Shibaraku, 32 (Fig. 12)
Saji Kiroku (Records of the Tea Ceremony) Shibayama inlay, 74, 83 (Fig. 69), 121, 122
69 shibuichi, see silver bronze
Sakai, netsuke produced in, 122-23 Shigemasa, 187 (Fig. 195)
Sakasuikoshu (Brief Biographies of Old Tea Shinto Sarasa Hinagata, see Sarasafu
Masters), 202 Shinyo, 46 (Fig. 45)

322 • GLOSSARY-INDEX
 , ,

shishi (Chinese lion or temple dog), 50 staghorn (kazuno) netsuke, 35 (Fig. 20),
(Fig. 51), 62, 169 37 (Fig. 26), 75, 88 (Fig. 78)
“Shitakiri Suzume” (The Tongue-cut stone (ishi) netsuke, 42 (Fig. 34), 46 (Fig.
Sparrow), 142 (Fig. 137) 42), 61, 77
Shizumori, 196 (Fig. 212) subjects of netsuke, see designs and sub-
Shogen, 77 jects
Shogetsu, 50 (Fig. 52) subori (simple carving), 122
Shoho period, use of netsuke in, 60 Sukenaga, 129, 135 (Figs. 126 and 127),
shojo (mythical drunkard), 106 (Fig. 118), 198 (Fig. 219)
127, 128, 154 (Fig. 162) Suketomo, 129
shojo dance, 106 (Fig. 118) sumi, see ink stick
Shoki, 80 (Fig. 62), 144 (Fig. 143), 200 sundial netsuke, 66, 80 (Fig. 63)
(Fig. 224) sword furnishings, 24, 25 (fn), 30 (Figs.
Shoko, 89 (Fig. 81), 190 (Fig. 199) 6-8), 31 (Fig. 9)
Shokusanjin, 171
Shokyokuken, 52 (Fig. 56) Tadamori and the Oil Thief, 155 (Fig. 165)
Shomin, Frontispiece (Fig. 1) Tadatoshi, 105 (Fig. 116) 127, 132 (Fig.
Shugetsu Higuchi, 29 (Fig. 4), 110, 113 121), 137 (Fig. 130)
Shui Tomi Roku, 65 Tadayoshi, 118, 127, 199 (Fig. 223)
Shukei Hogan, 120 Taihei-ki 58
Shumemaru Unjudo, 54 (Fig. 59) Taishin, 115
Shumi no Netsuke, see Netsuke as a Hobby takarazukushi (good-luck symbols), 35 (Fig.
Shuosai, 192 (Fig. 203), 193 (Fig. 205) 19)
Shuraku, 71 mask from, 199 (Fig. 222)
Takasago,
Shuzan Nagamachi, 79 (Fig. 60) Takeda Denuemon (Bijutsu Chokoku Gafu)
Shuzan Yoshimura, 73, 109, 113, 117, 118, 108
119-20, 144 (Figs. 143-145), 168, 169, tamaishi, see silicified coal
207, 208; copies, 109, 120; forgeries, Tamba district, netsuke produced in, 124
120, 168 Tamekazu, 194 (Fig. 207)
Shuzan-style netsuke, 92 (Fig. 90) Tametaka, 127, 143 (Fig. 142)
signaturesand seals, 61, 109, 117-18, 162; Tanigawa Kiroku, see collectors and col-
see also forgeries lections
silicified coal (tamaishi) netsuke, 77 tea wood (cha) netsuke, 74, 79 (Fig. 61),
silver (gin) netsuke, 43 (Fig. 35), 76 124
silver bronze (shibuichi) netsuke, 37 (Fig. Teirei, see Tsuru Sennin
24), 43 (Fig. 35), 76 tekkai sennin (hermit with iron staff), 161;
silver wire (ginsei harigane) netsuke, 76 see also sennin
single-knife carving, see ittobori Temmon period, use of netsuke in, 64
so (old man), 118, 215 Tempyo period, sculpture of, 23-24
Soken (Appreciation of Superior
Kisho Tenaga (Longarms), 109
Sword Furnishings), 55, 61, 62, 119, 120, tengu (long-nosed demon) mask, 70, 82
162, 201-2 (Fig. 65)
Soko Morita, 78, 117, 125, 126, 189 (Fig. tenka-ichi (best in the world), 1 14, 1 18, 215
198), 206, 209 Tenna period, use of netsuke in, 62
Soko Toshiyama, 97 (Fig. 99), 115-16, 119, tennin (Buddhist angel), 103 (Fig. 112)
122 tensho (seal script), 214
somada inlay netsuke, 158 (Fig. 171) Tessai Kano, 128, 173
Shomin Yokoya, Frontispiece (Fig. 1), 71, to (knife-cut), 118, 215
80 (Fig. 62) to, see cane
Sotoba Komachi, 176 (Fig. 173); see also tobacco pouch, frontispiece (Fig. 1), 41
Komachi (Fig. 32) ;
influence on netsuke, 68-72

GLOSSARY-INDEX •
323
tobori (Chinese-style carving) netsuke, 201; tsuki, see Zelkova wood
see also Chinese subjects and influences tsukuru (made), 215
tobutsu (Chinese articles), 61 Tsunenori, 123
Toen Morikawa, 39 (Fig. 29), 45 (Fig. 40), Tsuru (Crane) Sennin, 97 (Fig. 100) ; see
110,123,204,207 also sennin
tokata (superior ivory), 75, 121; see also tsuho(popular name), 214
ivory (pipe case), 123
tsutsu
Toki, 118 Twenty-four Paragons of Filial Piety, see
Tokiwa Gozen, 35 (Fig. 18) Nijushiko
Tokoku, 49 (Fig. 50), 87 (Fig. 76), 125 twisted wood or paper (mage) netsuke, 77
Tokugawa (Edo) era, sculpture of, 24, 25, types of netsuke, 55-57 ; see also specific types

26; use of netsuke in, 59, 60-61, 62-63,

164, 169-72 Ueda Reikichi (Netsuke as a Hobby) 202,
Tokyo Carvers’ Association, 173-74 206
Tokyo Imperial Household Museum, see uji (family name), 215
collectors and collections Uji district, netsuke produced in, 124
tombodama (ancient Egyptian glass), used Uji dolls (Uji ningyo) 79 (Fig. 61), 114,
for ojime, 71 124, 130, 171
Tomiharu, 110, 129, 142 (Fig. 139) ukiyo-e, influence on netsuke, 171
Tomochika I, 88 (Fig. 79), 125, 142 (Fig. Uman, see Deme Uman
137), 171 umimatsu, see black coral
Tomochika III, 198 (Fig. 220) umoregi, see fossil wood
Tomokazu, 110, 115, 128, 141 (Fig. 136) Unkoku, 195 (Fig. 209)
Tomonao, 31 (Fig. 9) Uzume, see Okame
Tomotada (Izumiya), 102 (Fig. 108), 110
123, 127 waka (31 -syllable poem), influence on
Tomotada (Yanagawa), 114 netsuke, 170, 171
“Tongue-cut Sparrow,” see “Shitakiri Wakan Sansai %ue (encyclopedia of ma-
Suzume” terials), 64
tonkotsu (tobacco case), 128 Wakun no Shiori (Dictionary of Classical
tortoise shell (bekko) netsuke, 42 (Fig. 33), Japanese), 55
77, 78 Wakayama district, netsuke produced in,

Totenko, 130 123

Tou Tsuchiya, see Yasuchika Tsuchiya walnut (kurumi) netsuke, 46 (Fig. 43)
Toun, 130, 136 (Fig. 129) walrus tusk (seiuchi no kiba) netsuke, 75
Toyen Morikawa, see Toen Morikawa water-buffalo horn (suigyu no tsuno) ne-
Toyokazu, 124 tsuke, 77-78
Toyomasa, 91 (Fig. 86), 124 whale tooth (kujira no ha) netsuke, 75, 88
Toyotomi era, use of netsuke in, 61 (Fig. 80)
Transactions and Proceedings (Japan Society wisteria bean (fujimame) netsuke, 46 (Fig.

of London), 203 45)

.

triangular netsuke, 75, 124, 143 (Fig. wisteria vine (fujizuru) netsuke, 38 (Fig.

142), 160-61 28), 123

trick netsuke, 161
trophy netsuke, 40 (Fig. 31), 77 yago (shop name), 214
tsuba(sword guard), 30 (Fig. 6), 94 (Fig. yaki-in (heated seal or brand), 214
93) ; see also sword furnishings Yamaguchi Kichirobei, see collectors and
tsubaki, see camellia wood collections
tsuge, see boxwood Yasuchika Tsuchiya, 71, 114
tsuikoku, seeblack lacquer Yasuda Tasaburo, see collectors and col-
tsuuhu, see red lacquer lections

324 • GLOSSARY-INDEX
 )

yatate (writing-brush container) netsuke, Yoshinaga, 102 (Fig. 109), 123, 200 (Fig
66, 80 (Fig. 62), 110 224)
Yeisai, see Eisai Yoshu Kotetsu, 94 (Fig. 93)
yellow pearl shell (kigai) inlay, 41 (Fig. Yoyusai, 115
32), 78, 121 Yukoku, 82 (Fig. 66)
yew wood (ichii) netsuke, 74, 127, 129, 130 Yurin, 200 (Fig. 225)
Yokoya, see Somin Yokoya
yomyo (childhood name), 214 Zelkova wood ( tsuki netsuke, 74
Yoritomo period, use of netsuke in, 59 Zeshin, 1 15, 188 (Fig. 197)
Yoritomo-style netsuke, 59 Zokoku, 129
Yoshimasa, 187 (Fig. 194) Zoroku, 115, 123

GLOSSARY-INDEX • 325
Boston Public Library
Central Library, Copley Square

General Library

The Date Due Card in the pocket indi-

cates the date on or before which this
book should be returned to the Library.

Please do not remove cards from this

pocket.
 /i.4
«

%
 r
r
 OS I OH ftllllC IIIOMT

||
3 9999 685 5

tr
L. L lM V j b j

. .;rpr the prc. erty c, the

p •» n » •• * *-

netsukehandbookoOOraym
netsukehandbookoOOraym

Boston Public Library

Copley Square

GENERAL LIBRARY

The Date Due Card in the pocket indi-

cates the date on or before which this
book should be returned to the Library.
Please do not remove cards from this
pocket