Research Question: How can we see Netsuke in the past, present, and future of “Japaness”?
This question relates to the core question of Japaness because I have based my project on intersecting with the theme of Japaness in many different ways. First, I look into the Japaness of ancient Japan as it compares to the Netsuke statues that I am looking at by comparing Jomon period sculptures to the Netsuke of the Edo period. Then, I continue through history by looking into the Kamakura period and the handcrolls that were prevalent in that era. I want to compare the idea of visual storytelling, which is present not only in the Kamakura period and in Netsuke but throughout the majority of Japanese history from ancient Japan to modern Japan. The next piece of Japaness I am putting into my work is the idea of Japaness from the mind of Isozaki. The reason for this is that his concept of Japaness was discussed in class, but it is in many ways the very opposite of what Japaness should be, and so when I look at Netsuke from this perspective, the death of Netsuke becomes clear. The death of Netsuke is caused by the art form being influenced by the Western view of Japan, distorting what it truly means for something to be Japanese. I use an example of Netsuke from the early 19th century to display how it changed when it became a desirable and expensive product for Western buyers in the United States and France. However, my project and, therefore, Netsuke does not end here; I argue that Netsuke continued to influence Japaness even after its “death.” This idea of netsuke heavily influenced the culture of Kawaii. The most obvious fact is that they share many visual similarities and often portray similar subject matter. Many netsuke were created to be “cute.” They are cats, dogs, elephants, and dancing otters, all there to portray this sense of cuteness. Kawaii is much the same, and in post-war Japan, kawaii culture became a large part of modern Japanese life, with characters like Hello Kitty being incredibly prevalent. The ideas of Netsuke contribute to this overall tapestry that is Japaness. All these themes of portability, visual storytelling, and the more recent advent of Kawaii culture contribute to modern Japan in many ways. The example I will provide is the idea of video games and, more specifically, Nintendo, Japan’s most prolific video game company. All these ideas can be seen from the undeniable fact that video games are an incredible example of visual storytelling to the cute reoccurring characters that make up the Nintendo roster and to the handheld and portable nature of most of the Nintendo consoles. Japaness is seen through netsuke and given through netsuke; it is both an example and a contributor to Japaness.
When you think of Japanese art, very few people think about Netsuke. It is not that popular of an art form in the modern day. But when I became aware of their existence, I knew immediately that they would be my main project. From a young age of have loved small and miniature things. I have created and collected them, and my fascination with the small stature of these pieces has never wavered. My collection of glass animals, tiny beads, little trinkets, and every small thing I could get my hands on is inspired by my favorite artist, Williard Wiggin. He is a British artist who had severe dyslexia, just like me, and so he was able to create a living for himself despite his disability by looking at the small and ignored things in the world. His incredible work, where he puts statues inside needles and elephants on grains of sand, has stuck with me not only for his insane work but for his story, which coincides with my story as an artist. So when I saw these small statues, the Netsuke, I knew that my project would have to be about them because often we forget about the small things, the tiny statured figures, and favor more overstated art and it is essential to pay homage to an item that may have been forgotten.
All my pieces are off the main umbrella, netsuke. This makes it so that the pieces’ material and size are vastly similar. All of my pieces are created out of ivory and are carved. All of my pieces are below five inches tall and 3 inches wide. The main difference that you see is the subject matter and sometimes the carving style of the object. All my images are chosen to represent certain aspects that the netsuke can take on.
Textual Sources Analysis:
Okada, Barbra Teri. “Netsuke: The Small Sculptures of Japan.” The Metropolitan Museum of Art Bulletin 38, no. 2 (1980): 3–48. https://doi.org/10.2307/3258709.
I used this text to argue about the storytelling that Netsuke represents, and it had a lot of powerful thoughts on how Netsuke could be molded to fit particular styles and describe specific walks of life in Japan. This text inspired work on storytelling and the idea of Netsuke being minimalist or representing more abstract ideas while remaining subversive. The concept that Netsuke represents a story is spoken about throughout the reading as much of Netsuke is giving a backstory and then a reason for their creation. I did disagree with the dome of the ideas about a few of the netsuke and thought that their thoughts on minimalism were only sometimes there.
ato, Kumiko. 2009. “FROM HELLO KITTY to COD ROE KEWPIE: A Postwar Cultural History of Cuteness in Japan.”
This was the basis of my thoughts on kawaii culture in Japan and what I used to deduce my ideas on the connections between kawaii and netsuke. The ideas portrayed in this writing were exciting and backed an idea I had in my head. I did not know if I could support this with evidence. Still, when I found this opinion on the development of the Kawaii culture and this idea of a small stature being able to inspire many people, it helped me formulate a powerful argument about netsuke as it related to the modern Kawaii culture of Japan.
Isozaki, Arata., and David B. Stewart. 2006. Japan-Ness in Architecture. Cambridge, Mass: MIT Press.
This was a text that we read in class and, at first glance, does not have much to do with netsuke, but when I read more into the westernization of netsuke, it became one of my most potent sources in the project. Netsuke is a perfect example of Isozaki’s idea about Japnaness being turned into the Western view. I used a quote from Isozaki in my presentation, ““Japaness” has belonged to an external gaze, that gaze directed toward Japan from beyond this insular nation.” This exemplified everything I was trying to say when it came to discussing the death of Netsuke.
Image 1:
Kaigyokusai Masatsugu, “Sleeping Cat”, 19th century, Raymond and Frances Bushell Collection, Los Angeles.
Japan, mid-to-late 19th century
Costumes; Accessories
Ivory with Sumi, red pigment
1 5/8 x 1 1/8 x 1 in. (4.1 x 2.8 x 2.5 cm)
Raymond and Frances Bushell Collection
This piece is relatively small and seemingly simple, but it conveys so much and displays this idea of a precursor to the kawaii ideals of Japan in a super concise way. The body is simple and round and does not have that much detail. However, the face is incredibly distinct and has the particular kawaii features you see in things like Hello Kitty or calico figures that are seen today.
Image 2:
Netsuke: Hotei with Two Karako Playing a Game
Japan, n.d., Ivory, 1 3/8 in.; 3.4925 cm, The Margaret Rankin Barker – Isaac Ogden Rankin Collection. Gift of Mr. and Mrs. James Barker (Margaret Clark Rankin, class of 1908)
This piece is of the Hotei buddha, a budha that is often associated with good fortune and prosperity. He is accompanied by to young children of the spirit world, and is often used to give it’s user, worshipper, or in this case, wearer to grant them good luck and good spirits. My favorite part of the piece is the burgundy color of the material and the jovial expression of the buddha. As a sculptor, it is tough to capture that sort of emotion, especially on such a small canvas; that is what make this piece so powerful.
Image 3:
Ivory carving Netsuke, it is hard to find information about it because it comes in a large case of different netsuke and they only list the whole case.
Shiomi Masanari, Case (Inrō) with Design of Stone Lanterns beside Cryptomeria Trees (the piece is inside the case), 18th–19th century, The Met Collection, New York City.
I’m exploring visual storytelling within the context of Netsuke. Despite apparent differences, both mediums share a common objective: narrating myths or legends through art and visuals. The featured Netsuke portrays Kinko, a recluse and teacher invited by the sea king to venture into the ocean. Upon his return, Kinko imparts a lesson to his students, advising against the killing of fish. The intricate interplay of visual elements in Netsuke serves as a powerful conduit for conveying profound narratives, bridging seemingly disparate elements into a cohesive and meaningful story.
Image 4:
Unknown, Netsuke, 18th century, Charles A. Greenfield, The Met Collection, New York City.
Title: Netsuke
Date: 18th century
Culture: Japan
Medium: Ivory
Dimensions: Diam. 1 1/4 in. (3.2 cm)
Classification: Netsuke
Credit Line: Gift of Charlies Greenfield, 1977
The focal point is a simple circle, notable for its understated charm. Adding an interactive dimension, the central piece can be detached, inviting engagement with the wearer. This departure from elaborate aesthetics demonstrates the adaptability of netsuke, showcasing its evolution into nuanced expressions that balance simplicity and cultural symbolism.
Image 5:
Joso Yafu tō, Netsuke of Man Cutting Pumpkin, late 19th century, The Met Collection, New York City.
Title: Netsuke of Man Cutting Pumpkin
Period: Meiji period (1868–1912)
Date: late 19th century
Culture: Japan
Medium: Wood
Dimensions: H. 1 1/3 in. (3.4 cm)
Classification: Netsuke
This is a piece by Josō Miyasaki, one of the 18th-century masters of netsuke. It is a depiction of a worker cutting a pumpkin on a cutting board. This strays away from the traditional ideas of high-class representation, or gods and myths. Instead, these works depict more down-to-earth working people. Which was a very powerful shift in the artform.
