Overview<\/h2>\n\n\n\n
Inr\u014ds, originally functional items, evolved into canvases for intricate depictions of nature, mythology, and cultural motifs. These cases offer a fascinating glimpse into Japanese culture, values, and beliefs, as well as the artistic craftsmanship of their creators. A central concept tied to inr\u014ds is “personal identity.” Each inr\u014d reflects the wearer’s taste, status, and individuality, with designs often tailored to personal interests such as nature, folklore, or religious symbolism. For instance, inr\u014ds featuring deities often symbolize the wearer\u2019s devotion to religion or mythology, underscoring spiritual or cultural values. Similarly, turtles, a common motif, represent longevity and good fortune, indicating a reverence for nature. Furthermore, inr\u014ds showcase a remarkable diversity in form and style, ranging from minimalist designs to highly extravagant works of art. This wide variety makes them deeply personal artifacts, as their aesthetics and motifs resonate uniquely with individual wearers.<\/p>\n\n\n\n
Image 1:<\/h2>\n\n\n\n\n![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2024\/12\/Japanese-InrGodLongevity-late-18thearly-19th-century-4-683x1024.jpg\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2024\/12\/Japanese-InrGodLongevity-late-18thearly-19th-century-3-2-683x1024.jpg\")
<\/figure>\n<\/div>\n\n\n\n<\/div>\n\n\n\nTitle: Inr\u014d with God of Longevity (Jur\u014djin) and a Stag (obverse) and Long-Tailed Turtle<\/p>\n\n\n\n
Creator: Somada School Artist (Japanese)<\/p>\n\n\n\n
Culture: Japanese<\/p>\n\n\n\n
Work Type: Inr\u014d <\/p>\n\n\n\n
Date: late 18th\u2013early 19th century<\/p>\n\n\n\n
Location: Japan<\/p>\n\n\n\n
Period: Edo period (1615\u20131868)<\/p>\n\n\n\n
Material: Lacquered wood<\/p>\n\n\n\n
Dimension: 8.5 x 5.2 x 2.5 cm <\/p>\n\n\n\n
Repository: The Metropolitan Museum of Art<\/p>\n\n\n\n
Collection: Open Artstor Collection <\/p>\n\n\n\n
ID Number: 45589 <\/p>\n\n\n\n
Sources: The Metropolitan Museum of Art, https:\/\/www.jstor.org\/stable\/community.34631618<\/span>, https:\/\/www.jstor.org\/stable\/community.34631619<\/a><\/p>\n\n\n\nLicense: Creative Commons: Free Reuse (CC0) <\/p>\n\n\n\n
Credit Line: The Metropolitan Museum of Art, Asian Art, H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929<\/p>\n\n\n\n
<\/div>\n\n\n\nThis four-cased inr\u014d features on one side a depiction of the God of Longevity (Jur\u014djin) painted in dappled midnight blue. He stands, accompanied by a watchful stag, exuding a profound sense of peaceful repose. In his hand, he grips a gradient-toned, leaf-shaped staff. Under him, golden sand glows, while trees loom overhead. The other side displays a gold turtle with feather-like strings that rests on the sand near the shoreline and bamboo trees, symbolizing good fortune and long life, complementing Jur\u014djin’s presence. One end of the cord is anchored by a black lacquer netsuke, presenting a gold basket of chrysanthemums, which symbolize longevity, rejuvenation, and nobility, while the other is completed by an intricately carved, textured red ojime.<\/p>\n\n\n\n
<\/div>\n\n\n\nImage 2:<\/h2>\n\n\n\n\n![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2024\/12\/Japan-InrNohPlay-mid-19th-century-3-713x1024.jpg\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2024\/12\/Japan-InrNohPlay-mid-19th-century-716x1024.jpg\")
<\/figure>\n<\/div>\n\n\n\n<\/div>\n\n\n\nTitle: Inr\u014d with the Noh Play D\u014dj\u014dji (obverse) and Flowering Cherry Tree (reverse)<\/p>\n\n\n\n
Creator: N\/A<\/p>\n\n\n\n
Culture: Japanese<\/p>\n\n\n\n
Work Type: Inr\u014d <\/p>\n\n\n\n
Date: Mid-19th century<\/p>\n\n\n\n
Location: Japan<\/p>\n\n\n\n
Period: Edo (1615\u20131868) or Meiji (1868\u20131912) period<\/p>\n\n\n\n
Material: Lacquered wood<\/p>\n\n\n\n
Dimension: 8.3 x 5.6 x 1.9 cm<\/p>\n\n\n\n
Repository: The Metropolitan Museum of Art<\/p>\n\n\n\n
Collection: Artstor Collection<\/p>\n\n\n\n
ID Number: 45587<\/p>\n\n\n\n
Sources: The Metropolitan Museum of Art, https:\/\/www.jstor.org\/stable\/community.34631662, https:\/\/www.jstor.org\/stable\/community.34631663 <\/a><\/p>\n\n\n\nLicense: Creative Commons: Free Reuse (CC0)<\/p>\n\n\n\n
Credit Line: The Metropolitan Museum of Art, Asian Art, H. O. Havemeyer Collection, Bequest of Mrs. H. O., Havemeyer, 1929<\/p>\n\n\n\n
<\/div>\n\n\n\nThe gold inr\u014d depicts a scene from the Noh play D\u014dj\u014dji<\/em>, featuring a towering green demon preparing to strike a praying figure, evoking a spiritual and otherworldly atmosphere. The central character, a Noh actor, is adorned in layered robes with gold and gray tones. The figure\u2019s posture, with one arm raised holding a staff, captures a moment of drama and tension, characteristic of Noh theater. Suspended in time, leaves us to imagine what will unfold next. On the reverse, a tranquil nature scene shows a blossoming red and blue cherry tree, providing a peaceful counterbalance. The netsuke, intricately carved with the Seven Gods of Good Fortune aboard a dragon treasure ship, includes a turtle swimming near the ship\u2019s base, symbolizing animal importance and expansive narrative.<\/p>\n\n\n\n<\/div>\n\n\n\nImage 3:<\/h2>\n\n\n\n\n![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2024\/12\/Artist_-Maki-e-by-Kajikawa-Japanese-InrShapeMount-late-18thearly-19th-century-819x1024.jpg\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2024\/12\/DP276707-768x1024.jpg\")
<\/figure>\n<\/div>\n\n\n\n<\/div>\n\n\n\nTitle: Inr\u014d in the Shape of Mount Fuji with a Crossing Ferry and Procession<\/p>\n\n\n\n
Creator: Maki-e by Kajikawa and After Hanabusa Itch\u014d<\/p>\n\n\n\n
Culture: Japan<\/p>\n\n\n\n
Work Type: Inr\u014d <\/p>\n\n\n\n
Date: late 18th\u2013early 19th century<\/p>\n\n\n\n
Location: Japan<\/p>\n\n\n\n
Period: Edo period (1615\u20131868)<\/p>\n\n\n\n
Material: Lacquered wood<\/p>\n\n\n\n
Dimension: 10.5 x 11.9 x 3.2 cm<\/p>\n\n\n\n
Repository: The Metropolitan Museum of Art<\/p>\n\n\n\n
Collection: Artstor Collection<\/p>\n\n\n\n
ID Number: 45440<\/p>\n\n\n\n
Source: The Metropolitan Museum of Art, https:\/\/www.jstor.org\/stable\/community.18428441<\/a>, https:\/\/www.metmuseum.org\/art\/collection\/search\/45440<\/a><\/p>\n\n\n\nLicense: Creative Commons: Free Reuse (CC0)<\/p>\n\n\n\n
Credit Line: The Metropolitan Museum of Art, Asian Art, Rogers Fund, 1913, 13.67.93<\/a><\/p>\n\n\n\n<\/div>\n\n\n\nThis green and gold inr\u014d is a three-dimensional case shaped to resemble Mount Fuji, which has a deep spiritual and cultural significance in Japanese society. Clouds frame the mountain, enhancing its scale and grandeur. One side of the inr\u014d depicts a crossing ferry filled with passengers, a scene that captures a moment of travel along Japan’s waterways, reflecting everyday life and behavior in the Edo Period. The inr\u014d captures the beautiful landscapes of Japan, emphasizing value in nature. The water\u2019s movement is intricately depicted using the maki-e technique, giving the rippling water a shimmering, dynamic quality. The reverse side portrays a walking procession of figures in traditional dress, creating a sense of movement within this depiction. Additionally, the netsuke depicts Ry\u016bg\u016bj\u014d, the mythical Dragon King’s undersea palace, inside an opening clam representing otherworldly beauty beneath the sea.<\/p>\n\n\n\n
<\/div>\n\n\n\nImage 4:<\/h2>\n\n\n\n\n![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2024\/12\/Japan-InrShapeHouse-late-18thearly-19th-century-768x1024.jpg\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2024\/12\/Japan-InrShapeHouse-late-18thearly-19th-century-2-768x1024.jpg\")
<\/figure>\n<\/div>\n\n\n\n<\/div>\n\n\n\nTitle: Inr\u014d in the Shape of a House<\/p>\n\n\n\n
Creator: N\/A<\/p>\n\n\n\n
Culture: Japan<\/p>\n\n\n\n
Work Type: Inr\u014d<\/p>\n\n\n\n
Date: late 18th\u2013early 19th century<\/p>\n\n\n\n
Location: Japan<\/p>\n\n\n\n
Material: Two cases; lacquered wood<\/p>\n\n\n\n
Dimensions: H. 5.7 cm; W.4.8 cm; D. 1.5 cm<\/p>\n\n\n\n
Repository: The Metropolitan Museum of Art<\/p>\n\n\n\n
Collection: Artstor collection.<\/p>\n\n\n\n
ID Number: 58768<\/p>\n\n\n\n
Source: The Metropolitan Museum of Art, https:\/\/www.jstor.org\/stable\/community.18725731<\/a>, https:\/\/www.jstor.org\/stable\/community.18725757<\/a><\/p>\n\n\n\nLicense: Creative Commons: Free Reuse (CC0)<\/p>\n\n\n\n
Credit Line: The Metropolitan Museum of Art, Asian Art, H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929<\/p>\n\n\n\n
<\/div>\n\n\n\nThis inr\u014d, crafted with silver and gold, takes the form of a traditional Minka, with a 3D roof designed to resemble a straw thatch. The body of the inr\u014d illustrates both the exterior and interior of the Minka, showing details like a bamboo sliding door and an empty room with bamboo-style flooring visible through the house\u2019s openings. On the other side of the inr\u014d, we observe the back of the Minka, displaying an almost straw-like window and curtain. Leaving us to wonder if this was a real-life Minka, which could have ultimately belonged to the owner of this inr\u014d. This emphasizes the idea that aesthetics and stories can resonate uniquely with individual wearers. Furthermore, the design emphasizes a minimalist, flat aesthetic, with a structure featuring geometric, straight lines that appear wooden. Painted on the house’s exterior are a garden with flowers, rocks, and a lamp. The ivory netsuke depicts Hotei, one of the Seven Gods of Good Luck, cheerfully holding a fan in a bag. The ojime is made of a simple metal material.<\/p>\n\n\n\n
<\/div>\n\n\n\nImage 5:<\/h2>\n\n\n\n\n![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2024\/12\/Japan-TortoiseshellBasketryInr-17th-century-1024x964.jpg\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2024\/12\/DP-15452-087-1-768x1024.jpg\")
<\/figure>\n<\/div>\n\n\n\n<\/div>\n\n\n\nTitle: Tortoiseshell and Basketry Inr\u014d<\/p>\n\n\n\n
Creator: N\/A<\/p>\n\n\n\n
Culture: Japan<\/p>\n\n\n\n
Work Type: Inr\u014d <\/p>\n\n\n\n
Date: 17th century<\/p>\n\n\n\n
Location: Japan<\/p>\n\n\n\n
Material: Inr\u014d: single case; tortoiseshell under rattan \u201cnet\u201d covered with lacquer (urushi)<\/p>\n\n\n\n
Period: Edo period (1615\u20131868)<\/p>\n\n\n\n
Dimensions: H. 2 11\/16 in.; W. 2 11\/16 in.; D. 1 in.<\/p>\n\n\n\n
Repository: The Metropolitan Museum of Art<\/p>\n\n\n\n
Collection: Artstor collection.<\/p>\n\n\n\n
ID Number: 58516<\/p>\n\n\n\n
Source: The Metropolitan Museum of Art, https:\/\/www.jstor.org\/stable\/community.18355829<\/span>, https:\/\/www.metmuseum.org\/art\/collection\/search\/58516<\/span><\/a><\/p>\n\n\n\nLicense: Creative Commons: Free Reuse (CC0)<\/p>\n\n\n\n
Credit Line: The Metropolitan Museum of Art, Asian Art, Edward C. Moore Collection, Bequest of Edward C. Moore, 1891<\/p>\n\n\n\n
<\/div>\n\n\n\nUnlike traditional lacquered or ivory inr\u014d, this two-cased piece combines translucent tortoiseshell with delicate basketry techniques, creating a unique texture and layered appearance. The tortoiseshell warm amber tones contrast with the intricate basket weave or rattan net, highlighting a balanced solidity within the design. Subtle geometric patterns in the weaving, with rich dark browns and light accents, add a rustic aesthetic. Its circular shape and the absence of elaborate painted designs present a more simplistic, natural alternative for a kimono accessory that can resemble the wearer’s personality or personal taste. The ojime is decorated with floral petals, and the carved wooden netsuke, shaped like a turtle shell, complements the inr\u014d beautifully.<\/p>\n\n\n\n
<\/div>\n\n\n\nExhibition Layout:<\/h2>\n\n\n\n
For my exhibition layout, I would display the inr\u014d on columns covered with glass cases, allowing the audience to walk around and view both the front and back. The centerpiece would be the tortoiseshell and basketry inro, as its simplicity and rustic aesthetic, with no painted design and unique materials like tortoiseshell and rattan, make it distinct from the others. This inr\u014d would be placed in the middle, surrounded by the other four, arranged by theme: the two depicting everyday life at the front, and the mythological ones at the back. The exhibition would be in a dark room, with each inr\u014d illuminated by a spotlight to help focus attention on these small, intricately designed objects. Magnifying glasses would be provided for a clearer and closer look. Additionally, two wall images would show an inr\u014d being opened on the left and another one being worn through a kimono sash on the right, enhancing the audience\u2019s understanding of inr\u014ds.<\/p>\n\n\n\n
<\/div>\n\n\n\nAnnotated Bibliography<\/h2>\n\n\n\n
T\u016fmov\u00e1, Ad\u00e9la. “THE INR\u014c COLLECTION IN THE N\u00c1PRSTEK MUSEUM.” Annals of the N\u00e1prstek Muzeum<\/em> 42, no. 2 (2021).<\/p>\n\n\n\nThis article examines the structure, materials, and historical context of Japanese inr\u014ds, providing valuable insights for my project on their history and construction. T\u016fmov\u00e1 explores the N\u00e1prstek Museum collection, detailing its origins, craftsmanship, and the evolution of inr\u014ds from functional items to status symbols and collectible art. The descriptions of specific inr\u014ds held at the museum may help improve my analysis of my inr\u014ds. Originally small portable cases for personal items, inr\u014ds hung from the obi of men\u2019s clothing and were worn primarily by samurai and the wealthy as ornaments, reflecting their extravagant designs and craftsmanship. The article highlights key structural elements like the silk cord, ojime bead, and netsuke, which can add symbolic and functional value, often inspired by nature and mythology\u2014an aspect I aim to emphasize. It also delves into materials and techniques, such as Japanese lacquer, gold, mother-of-pearl, and metal inlays, which elevated inr\u014ds into decorative accessories. This evolution aligns with my project’s focus on inr\u014ds as wearable art, showcasing cultural themes, beliefs, mythological stories, and scenes from nature that demonstrate its possibilities for diversity and personal connection. Overall, the article had effectively conveyed the Inr\u014ds usage and structure well.<\/p>\n\n\n\n
<\/div>\n\n\n\nChapin, Helen B. “Themes of the Japanese Netsuk\u00e9-Carver.” The Art Bulletin<\/em> 5, no. 1 (1922): 10-21.<\/p>\n\n\n\nHelen B. Chapin delves into the artistic and cultural importance of netsuk\u00e9, the intricately crafted toggles traditionally used in Japanese attire to secure inr\u014ds. Chapin also discusses the variety of materials used in netsuk\u00e9 carving, including wood, ivory, and bone, that highlight the skill required to produce such intricate designs on a small scale. She explores the wide array of themes depicted in netsuk\u00e9 carvings, which offer insights into Japanese life, mythology, and religion, reflecting the country\u2019s artistic values and cultural priorities during the Edo period. A key focus of Chapin\u2019s work is thematic diversity\u2014a concept central to my project on the varied meanings of netsuk\u00e9. For instance, netsuk\u00e9 often portray figures from Shinto and Buddhist traditions, such as gods, demons, and legendary characters, symbolizing spiritual and moral ideals. Chapin highlights specific examples, like a netsuk\u00e9 depicting a mask seller asleep over his box, surrounded by masks of Uzume and a demon, representing the interplay of good and bad luck. Additionally, netsuk\u00e9 frequently features detailed imagery of animals, plants, and landscapes, emphasizing a deep connection to nature, as well as scenes from daily life, revealing the carver’s observations of human behavior and society. These ideas resonate strongly with my project, as my netsuk\u00e9s embody symbolic meanings, narratives, and personal expression, making them more than just decorative objects.<\/p>\n\n\n\n
<\/div>\n\n\n\nSources<\/h2>\n\n\n\n
Artist: Somada School Artist (Japanese). Inr\u014d with God of Longevity (Jur\u014djin) and a Stag (Obverse) and Long-Tailed Turtle (Minogame) under Bamboo (Reverse)<\/em>. late 18th\u2013early 19th century. Four cases; lacquered wood with gold hiramaki-e, togidashimaki-e, nashiji (\u201cpear-skin ground\u201d), gold foil cutouts, and mother-of-pearl inlay on black lacquer ground Netsuke: manju type, basket with chrysanthemums; lacquered wood with mother-of-pearl inlay Ojime: carved red lacquer bead, 3 3\/8 x 2 1\/16 x 1 in. (8.5 x 5.2 x 2.5 cm). The Metropolitan Museum of Art. https:\/\/jstor.org\/stable\/community.34631619<\/a>.<\/p>\n\n\n\nInr\u014d with the Noh Play D\u014dj\u014dji (Obverse) and Flowering Cherry Tree (Reverse)<\/em>. mid-19th century. Four cases; lacquered wood with gold, silver, color hiramaki-e, togidashimaki-e on gold ground; Netsuke: treasure ship with seven gods of good fortune; ivory; Ojime: wood bead, 3 1\/4 x 2 3\/16 x 3\/4 in. (8.3 x 5.6 x 1.9 cm). Case (Inro) with Design of Dojoji Noh Dance (Obverse); Flowering Cherry Tree (Reverse) [29.100.861]<\/em>. The Metropolitan Museum of Art. https:\/\/jstor.org\/stable\/community.34631663<\/a>.<\/p>\n\n\n\nArtist: Maki-e by Kajikawa (Japanese, 1652-1724), and Artist: After Hanabusa Itch\u014d (Japanese, 1652-1724). Inr\u014d in the Shape of Mount Fuji with a Crossing Ferry and Procession<\/em>. late 18th\u2013early 19th century. Two cases; lacquered wood with gold and silver takamaki-e, hiramaki-e, togidashimaki-e, cut-out gold foil on nashiji lacquer ground; Netsuke: ivory; Ry\u016bg\u016bj\u014d (The Dragon King\u2019s undersea palace) in a clam; Ojime: agate bead, 4 1\/8 x 4 11\/16 x 1 1\/4 in. (10.5 x 11.9 x 3.2 cm). The Metropolitan Museum of Art. https:\/\/jstor.org\/stable\/community.18428441<\/a>.<\/p>\n\n\n\nInr\u014d in the Shape of a House<\/em>. late 18th\u2013early 19th century. Two cases; lacquered wood with gold and silver takamaki-e, hiramaki-e, togidashimaki-e, cutout gold foil application on black lacquer ground; Netsuke: ivory; Hotei in a bag; Ojime: metal bead, Inro: H. 2 1\/4 in. (5.7 cm); W. 1 7\/8 in. (4.8 cm); D. 9\/16 in. (1.5 cm)); Netsuke: H. 1 in. (2.5 cm); W. 1 3\/4 in. (4.4 cm); D. 1 1\/4 in. (3.2 cm). The Metropolitan Museum of Art. https:\/\/jstor.org\/stable\/community.18725731<\/a>.<\/p>\n\n\n\nTortoiseshell and Basketry Inr\u014d<\/em>. 17th century. Single case; tortoiseshell under bamboo or rattan covered with lacquer (urushi) Netsuke: turtle; wood Ojime: insects and butterflies; bronze with metal inlays, H. 2 11\/16 in. (6.8 cm); W. 2 11\/16 in. (6.8 cm); D. 1 in. (2.6 cm). Tortoiseshell and Basketry Inr\u014d [91.1.2153a-c]<\/em>. The Metropolitan Museum of Art. https:\/\/jstor.org\/stable\/community.18355829<\/a>. <\/p>\n\n\n\nT\u016fmov\u00e1, Ad\u00e9la. “THE INR\u014c COLLECTION IN THE N\u00c1PRSTEK MUSEUM.” Annals of the N\u00e1prstek Muzeum<\/em> 42, no. 2 (2021). https:\/\/d1wqtxts1xzle7.cloudfront.net\/107192261\/ANNALS_42-2-2021_04_Tumova-libre.pdf?1699290567=&response-content-disposition=inline%3B+filename%3DThe_Inro_Collection_in_the_Naprstek_Muse.pdf&Expires=1733446613&Signature=DsREChbarecBYXEe-KBOh~bU5HD-tLyfbbKVM6E9MpLLydezjh5JnYjBdl6X4X2wQgzij3FpLDloEtECDzlUKAGOioURnhUIUdiq1xlFUVPsnkxI0GSJEewqxCRdJ6kxzcIFU30bUV2BDF9tgqEfIKL2MHIVAWiFuDuqkzKom-IbgY3UnFhZp0UdVi2pEpQDMlFRmfbMvRGxnZ~AtNQIfwRg24L7uK0ox3D0to2tWLZTD-Nt1WwSy01DEZeYQIysFMj~aG0p17buDaVFea5dBpJjt4Qcx3PhLMiTGd0yyf3RzKAUKVWDxbg4K8ulnhHTVduQyn9SAq9CVhNWNZzlRQ__&Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA<\/a>Chapin, Helen B. “Themes of the Japanese Netsuk\u00e9-Carver.” The Art Bulletin<\/em> 5, no. 1 (1922): 10-21.https:\/\/www.jstor.org\/stable\/pdf\/3046423.pdf<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"Introduction Japanese inr\u014ds are compact, portable cases traditionally used with Japanese attire to carry small personal items like medicine, seals,…<\/p>\n","protected":false},"author":189,"featured_media":6609,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[51,108,407,3,408,409],"class_list":["post-6328","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-edo","tag-exhibition","tag-inro","tag-japan","tag-japanese-craftsmanship","tag-lacquered-wood","wpcat-1-id"],"_links":{"self":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/6328","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/users\/189"}],"replies":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/comments?post=6328"}],"version-history":[{"count":37,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/6328\/revisions"}],"predecessor-version":[{"id":6637,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/6328\/revisions\/6637"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/media\/6609"}],"wp:attachment":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/media?parent=6328"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/categories?post=6328"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/tags?post=6328"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
<\/figure>\n\n\n\n<\/figure>\n<\/div>\n\n\n\nTitle: Inr\u014d with God of Longevity (Jur\u014djin) and a Stag (obverse) and Long-Tailed Turtle<\/p>\n\n\n\n
Creator: Somada School Artist (Japanese)<\/p>\n\n\n\n
Culture: Japanese<\/p>\n\n\n\n
Work Type: Inr\u014d <\/p>\n\n\n\n
Date: late 18th\u2013early 19th century<\/p>\n\n\n\n
Location: Japan<\/p>\n\n\n\n
Period: Edo period (1615\u20131868)<\/p>\n\n\n\n
Material: Lacquered wood<\/p>\n\n\n\n
Dimension: 8.5 x 5.2 x 2.5 cm <\/p>\n\n\n\n
Repository: The Metropolitan Museum of Art<\/p>\n\n\n\n
Collection: Open Artstor Collection <\/p>\n\n\n\n
ID Number: 45589 <\/p>\n\n\n\n
Sources: The Metropolitan Museum of Art, https:\/\/www.jstor.org\/stable\/community.34631618<\/span>, https:\/\/www.jstor.org\/stable\/community.34631619<\/a><\/p>\n\n\n\n License: Creative Commons: Free Reuse (CC0) <\/p>\n\n\n\n Credit Line: The Metropolitan Museum of Art, Asian Art, H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929<\/p>\n\n\n\n This four-cased inr\u014d features on one side a depiction of the God of Longevity (Jur\u014djin) painted in dappled midnight blue. He stands, accompanied by a watchful stag, exuding a profound sense of peaceful repose. In his hand, he grips a gradient-toned, leaf-shaped staff. Under him, golden sand glows, while trees loom overhead. The other side displays a gold turtle with feather-like strings that rests on the sand near the shoreline and bamboo trees, symbolizing good fortune and long life, complementing Jur\u014djin’s presence. One end of the cord is anchored by a black lacquer netsuke, presenting a gold basket of chrysanthemums, which symbolize longevity, rejuvenation, and nobility, while the other is completed by an intricately carved, textured red ojime.<\/p>\n\n\n\n Title: Inr\u014d with the Noh Play D\u014dj\u014dji (obverse) and Flowering Cherry Tree (reverse)<\/p>\n\n\n\n Creator: N\/A<\/p>\n\n\n\n Culture: Japanese<\/p>\n\n\n\n Work Type: Inr\u014d <\/p>\n\n\n\n Date: Mid-19th century<\/p>\n\n\n\n Location: Japan<\/p>\n\n\n\n Period: Edo (1615\u20131868) or Meiji (1868\u20131912) period<\/p>\n\n\n\n Material: Lacquered wood<\/p>\n\n\n\n Dimension: 8.3 x 5.6 x 1.9 cm<\/p>\n\n\n\n Repository: The Metropolitan Museum of Art<\/p>\n\n\n\n Collection: Artstor Collection<\/p>\n\n\n\n ID Number: 45587<\/p>\n\n\n\n Sources: The Metropolitan Museum of Art, https:\/\/www.jstor.org\/stable\/community.34631662, https:\/\/www.jstor.org\/stable\/community.34631663 <\/a><\/p>\n\n\n\n License: Creative Commons: Free Reuse (CC0)<\/p>\n\n\n\n Credit Line: The Metropolitan Museum of Art, Asian Art, H. O. Havemeyer Collection, Bequest of Mrs. H. O., Havemeyer, 1929<\/p>\n\n\n\n The gold inr\u014d depicts a scene from the Noh play D\u014dj\u014dji<\/em>, featuring a towering green demon preparing to strike a praying figure, evoking a spiritual and otherworldly atmosphere. The central character, a Noh actor, is adorned in layered robes with gold and gray tones. The figure\u2019s posture, with one arm raised holding a staff, captures a moment of drama and tension, characteristic of Noh theater. Suspended in time, leaves us to imagine what will unfold next. On the reverse, a tranquil nature scene shows a blossoming red and blue cherry tree, providing a peaceful counterbalance. The netsuke, intricately carved with the Seven Gods of Good Fortune aboard a dragon treasure ship, includes a turtle swimming near the ship\u2019s base, symbolizing animal importance and expansive narrative.<\/p>\n\n\n\n Title: Inr\u014d in the Shape of Mount Fuji with a Crossing Ferry and Procession<\/p>\n\n\n\n Creator: Maki-e by Kajikawa and After Hanabusa Itch\u014d<\/p>\n\n\n\n Culture: Japan<\/p>\n\n\n\n Work Type: Inr\u014d <\/p>\n\n\n\n Date: late 18th\u2013early 19th century<\/p>\n\n\n\n Location: Japan<\/p>\n\n\n\n Period: Edo period (1615\u20131868)<\/p>\n\n\n\n Material: Lacquered wood<\/p>\n\n\n\n Dimension: 10.5 x 11.9 x 3.2 cm<\/p>\n\n\n\n Repository: The Metropolitan Museum of Art<\/p>\n\n\n\n Collection: Artstor Collection<\/p>\n\n\n\n ID Number: 45440<\/p>\n\n\n\n Source: The Metropolitan Museum of Art, https:\/\/www.jstor.org\/stable\/community.18428441<\/a>, https:\/\/www.metmuseum.org\/art\/collection\/search\/45440<\/a><\/p>\n\n\n\n License: Creative Commons: Free Reuse (CC0)<\/p>\n\n\n\n Credit Line: The Metropolitan Museum of Art, Asian Art, Rogers Fund, 1913, 13.67.93<\/a><\/p>\n\n\n\n This green and gold inr\u014d is a three-dimensional case shaped to resemble Mount Fuji, which has a deep spiritual and cultural significance in Japanese society. Clouds frame the mountain, enhancing its scale and grandeur. One side of the inr\u014d depicts a crossing ferry filled with passengers, a scene that captures a moment of travel along Japan’s waterways, reflecting everyday life and behavior in the Edo Period. The inr\u014d captures the beautiful landscapes of Japan, emphasizing value in nature. The water\u2019s movement is intricately depicted using the maki-e technique, giving the rippling water a shimmering, dynamic quality. The reverse side portrays a walking procession of figures in traditional dress, creating a sense of movement within this depiction. Additionally, the netsuke depicts Ry\u016bg\u016bj\u014d, the mythical Dragon King’s undersea palace, inside an opening clam representing otherworldly beauty beneath the sea.<\/p>\n\n\n\n Title: Inr\u014d in the Shape of a House<\/p>\n\n\n\n Creator: N\/A<\/p>\n\n\n\n Culture: Japan<\/p>\n\n\n\n Work Type: Inr\u014d<\/p>\n\n\n\n Date: late 18th\u2013early 19th century<\/p>\n\n\n\n Location: Japan<\/p>\n\n\n\n Material: Two cases; lacquered wood<\/p>\n\n\n\n Dimensions: H. 5.7 cm; W.4.8 cm; D. 1.5 cm<\/p>\n\n\n\n Repository: The Metropolitan Museum of Art<\/p>\n\n\n\n Collection: Artstor collection.<\/p>\n\n\n\n ID Number: 58768<\/p>\n\n\n\n Source: The Metropolitan Museum of Art, https:\/\/www.jstor.org\/stable\/community.18725731<\/a>, https:\/\/www.jstor.org\/stable\/community.18725757<\/a><\/p>\n\n\n\n License: Creative Commons: Free Reuse (CC0)<\/p>\n\n\n\n Credit Line: The Metropolitan Museum of Art, Asian Art, H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929<\/p>\n\n\n\n This inr\u014d, crafted with silver and gold, takes the form of a traditional Minka, with a 3D roof designed to resemble a straw thatch. The body of the inr\u014d illustrates both the exterior and interior of the Minka, showing details like a bamboo sliding door and an empty room with bamboo-style flooring visible through the house\u2019s openings. On the other side of the inr\u014d, we observe the back of the Minka, displaying an almost straw-like window and curtain. Leaving us to wonder if this was a real-life Minka, which could have ultimately belonged to the owner of this inr\u014d. This emphasizes the idea that aesthetics and stories can resonate uniquely with individual wearers. Furthermore, the design emphasizes a minimalist, flat aesthetic, with a structure featuring geometric, straight lines that appear wooden. Painted on the house’s exterior are a garden with flowers, rocks, and a lamp. The ivory netsuke depicts Hotei, one of the Seven Gods of Good Luck, cheerfully holding a fan in a bag. The ojime is made of a simple metal material.<\/p>\n\n\n\n Title: Tortoiseshell and Basketry Inr\u014d<\/p>\n\n\n\n Creator: N\/A<\/p>\n\n\n\n Culture: Japan<\/p>\n\n\n\n Work Type: Inr\u014d <\/p>\n\n\n\n Date: 17th century<\/p>\n\n\n\n Location: Japan<\/p>\n\n\n\n Material: Inr\u014d: single case; tortoiseshell under rattan \u201cnet\u201d covered with lacquer (urushi)<\/p>\n\n\n\n Period: Edo period (1615\u20131868)<\/p>\n\n\n\n Dimensions: H. 2 11\/16 in.; W. 2 11\/16 in.; D. 1 in.<\/p>\n\n\n\n Repository: The Metropolitan Museum of Art<\/p>\n\n\n\n Collection: Artstor collection.<\/p>\n\n\n\n ID Number: 58516<\/p>\n\n\n\n Source: The Metropolitan Museum of Art, https:\/\/www.jstor.org\/stable\/community.18355829<\/span>, https:\/\/www.metmuseum.org\/art\/collection\/search\/58516<\/span><\/a><\/p>\n\n\n\n License: Creative Commons: Free Reuse (CC0)<\/p>\n\n\n\n Credit Line: The Metropolitan Museum of Art, Asian Art, Edward C. Moore Collection, Bequest of Edward C. Moore, 1891<\/p>\n\n\n\n Unlike traditional lacquered or ivory inr\u014d, this two-cased piece combines translucent tortoiseshell with delicate basketry techniques, creating a unique texture and layered appearance. The tortoiseshell warm amber tones contrast with the intricate basket weave or rattan net, highlighting a balanced solidity within the design. Subtle geometric patterns in the weaving, with rich dark browns and light accents, add a rustic aesthetic. Its circular shape and the absence of elaborate painted designs present a more simplistic, natural alternative for a kimono accessory that can resemble the wearer’s personality or personal taste. The ojime is decorated with floral petals, and the carved wooden netsuke, shaped like a turtle shell, complements the inr\u014d beautifully.<\/p>\n\n\n\n For my exhibition layout, I would display the inr\u014d on columns covered with glass cases, allowing the audience to walk around and view both the front and back. The centerpiece would be the tortoiseshell and basketry inro, as its simplicity and rustic aesthetic, with no painted design and unique materials like tortoiseshell and rattan, make it distinct from the others. This inr\u014d would be placed in the middle, surrounded by the other four, arranged by theme: the two depicting everyday life at the front, and the mythological ones at the back. The exhibition would be in a dark room, with each inr\u014d illuminated by a spotlight to help focus attention on these small, intricately designed objects. Magnifying glasses would be provided for a clearer and closer look. Additionally, two wall images would show an inr\u014d being opened on the left and another one being worn through a kimono sash on the right, enhancing the audience\u2019s understanding of inr\u014ds.<\/p>\n\n\n\n T\u016fmov\u00e1, Ad\u00e9la. “THE INR\u014c COLLECTION IN THE N\u00c1PRSTEK MUSEUM.” Annals of the N\u00e1prstek Muzeum<\/em> 42, no. 2 (2021).<\/p>\n\n\n\n This article examines the structure, materials, and historical context of Japanese inr\u014ds, providing valuable insights for my project on their history and construction. T\u016fmov\u00e1 explores the N\u00e1prstek Museum collection, detailing its origins, craftsmanship, and the evolution of inr\u014ds from functional items to status symbols and collectible art. The descriptions of specific inr\u014ds held at the museum may help improve my analysis of my inr\u014ds. Originally small portable cases for personal items, inr\u014ds hung from the obi of men\u2019s clothing and were worn primarily by samurai and the wealthy as ornaments, reflecting their extravagant designs and craftsmanship. The article highlights key structural elements like the silk cord, ojime bead, and netsuke, which can add symbolic and functional value, often inspired by nature and mythology\u2014an aspect I aim to emphasize. It also delves into materials and techniques, such as Japanese lacquer, gold, mother-of-pearl, and metal inlays, which elevated inr\u014ds into decorative accessories. This evolution aligns with my project’s focus on inr\u014ds as wearable art, showcasing cultural themes, beliefs, mythological stories, and scenes from nature that demonstrate its possibilities for diversity and personal connection. Overall, the article had effectively conveyed the Inr\u014ds usage and structure well.<\/p>\n\n\n\n Chapin, Helen B. “Themes of the Japanese Netsuk\u00e9-Carver.” The Art Bulletin<\/em> 5, no. 1 (1922): 10-21.<\/p>\n\n\n\n Helen B. Chapin delves into the artistic and cultural importance of netsuk\u00e9, the intricately crafted toggles traditionally used in Japanese attire to secure inr\u014ds. Chapin also discusses the variety of materials used in netsuk\u00e9 carving, including wood, ivory, and bone, that highlight the skill required to produce such intricate designs on a small scale. She explores the wide array of themes depicted in netsuk\u00e9 carvings, which offer insights into Japanese life, mythology, and religion, reflecting the country\u2019s artistic values and cultural priorities during the Edo period. A key focus of Chapin\u2019s work is thematic diversity\u2014a concept central to my project on the varied meanings of netsuk\u00e9. For instance, netsuk\u00e9 often portray figures from Shinto and Buddhist traditions, such as gods, demons, and legendary characters, symbolizing spiritual and moral ideals. Chapin highlights specific examples, like a netsuk\u00e9 depicting a mask seller asleep over his box, surrounded by masks of Uzume and a demon, representing the interplay of good and bad luck. Additionally, netsuk\u00e9 frequently features detailed imagery of animals, plants, and landscapes, emphasizing a deep connection to nature, as well as scenes from daily life, revealing the carver’s observations of human behavior and society. These ideas resonate strongly with my project, as my netsuk\u00e9s embody symbolic meanings, narratives, and personal expression, making them more than just decorative objects.<\/p>\n\n\n\n Artist: Somada School Artist (Japanese). Inr\u014d with God of Longevity (Jur\u014djin) and a Stag (Obverse) and Long-Tailed Turtle (Minogame) under Bamboo (Reverse)<\/em>. late 18th\u2013early 19th century. Four cases; lacquered wood with gold hiramaki-e, togidashimaki-e, nashiji (\u201cpear-skin ground\u201d), gold foil cutouts, and mother-of-pearl inlay on black lacquer ground Netsuke: manju type, basket with chrysanthemums; lacquered wood with mother-of-pearl inlay Ojime: carved red lacquer bead, 3 3\/8 x 2 1\/16 x 1 in. (8.5 x 5.2 x 2.5 cm). The Metropolitan Museum of Art. https:\/\/jstor.org\/stable\/community.34631619<\/a>.<\/p>\n\n\n\n Inr\u014d with the Noh Play D\u014dj\u014dji (Obverse) and Flowering Cherry Tree (Reverse)<\/em>. mid-19th century. Four cases; lacquered wood with gold, silver, color hiramaki-e, togidashimaki-e on gold ground; Netsuke: treasure ship with seven gods of good fortune; ivory; Ojime: wood bead, 3 1\/4 x 2 3\/16 x 3\/4 in. (8.3 x 5.6 x 1.9 cm). Case (Inro) with Design of Dojoji Noh Dance (Obverse); Flowering Cherry Tree (Reverse) [29.100.861]<\/em>. The Metropolitan Museum of Art. https:\/\/jstor.org\/stable\/community.34631663<\/a>.<\/p>\n\n\n\n Artist: Maki-e by Kajikawa (Japanese, 1652-1724), and Artist: After Hanabusa Itch\u014d (Japanese, 1652-1724). Inr\u014d in the Shape of Mount Fuji with a Crossing Ferry and Procession<\/em>. late 18th\u2013early 19th century. Two cases; lacquered wood with gold and silver takamaki-e, hiramaki-e, togidashimaki-e, cut-out gold foil on nashiji lacquer ground; Netsuke: ivory; Ry\u016bg\u016bj\u014d (The Dragon King\u2019s undersea palace) in a clam; Ojime: agate bead, 4 1\/8 x 4 11\/16 x 1 1\/4 in. (10.5 x 11.9 x 3.2 cm). The Metropolitan Museum of Art. https:\/\/jstor.org\/stable\/community.18428441<\/a>.<\/p>\n\n\n\n Inr\u014d in the Shape of a House<\/em>. late 18th\u2013early 19th century. Two cases; lacquered wood with gold and silver takamaki-e, hiramaki-e, togidashimaki-e, cutout gold foil application on black lacquer ground; Netsuke: ivory; Hotei in a bag; Ojime: metal bead, Inro: H. 2 1\/4 in. (5.7 cm); W. 1 7\/8 in. (4.8 cm); D. 9\/16 in. (1.5 cm)); Netsuke: H. 1 in. (2.5 cm); W. 1 3\/4 in. (4.4 cm); D. 1 1\/4 in. (3.2 cm). The Metropolitan Museum of Art. https:\/\/jstor.org\/stable\/community.18725731<\/a>.<\/p>\n\n\n\n Tortoiseshell and Basketry Inr\u014d<\/em>. 17th century. Single case; tortoiseshell under bamboo or rattan covered with lacquer (urushi) Netsuke: turtle; wood Ojime: insects and butterflies; bronze with metal inlays, H. 2 11\/16 in. (6.8 cm); W. 2 11\/16 in. (6.8 cm); D. 1 in. (2.6 cm). Tortoiseshell and Basketry Inr\u014d [91.1.2153a-c]<\/em>. The Metropolitan Museum of Art. https:\/\/jstor.org\/stable\/community.18355829<\/a>. <\/p>\n\n\n\n T\u016fmov\u00e1, Ad\u00e9la. “THE INR\u014c COLLECTION IN THE N\u00c1PRSTEK MUSEUM.” Annals of the N\u00e1prstek Muzeum<\/em> 42, no. 2 (2021). https:\/\/d1wqtxts1xzle7.cloudfront.net\/107192261\/ANNALS_42-2-2021_04_Tumova-libre.pdf?1699290567=&response-content-disposition=inline%3B+filename%3DThe_Inro_Collection_in_the_Naprstek_Muse.pdf&Expires=1733446613&Signature=DsREChbarecBYXEe-KBOh~bU5HD-tLyfbbKVM6E9MpLLydezjh5JnYjBdl6X4X2wQgzij3FpLDloEtECDzlUKAGOioURnhUIUdiq1xlFUVPsnkxI0GSJEewqxCRdJ6kxzcIFU30bUV2BDF9tgqEfIKL2MHIVAWiFuDuqkzKom-IbgY3UnFhZp0UdVi2pEpQDMlFRmfbMvRGxnZ~AtNQIfwRg24L7uK0ox3D0to2tWLZTD-Nt1WwSy01DEZeYQIysFMj~aG0p17buDaVFea5dBpJjt4Qcx3PhLMiTGd0yyf3RzKAUKVWDxbg4K8ulnhHTVduQyn9SAq9CVhNWNZzlRQ__&Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA<\/a>Chapin, Helen B. “Themes of the Japanese Netsuk\u00e9-Carver.” The Art Bulletin<\/em> 5, no. 1 (1922): 10-21.https:\/\/www.jstor.org\/stable\/pdf\/3046423.pdf<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" Introduction Japanese inr\u014ds are compact, portable cases traditionally used with Japanese attire to carry small personal items like medicine, seals,…<\/p>\n","protected":false},"author":189,"featured_media":6609,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[51,108,407,3,408,409],"class_list":["post-6328","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-edo","tag-exhibition","tag-inro","tag-japan","tag-japanese-craftsmanship","tag-lacquered-wood","wpcat-1-id"],"_links":{"self":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/6328","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/users\/189"}],"replies":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/comments?post=6328"}],"version-history":[{"count":37,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/6328\/revisions"}],"predecessor-version":[{"id":6637,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/6328\/revisions\/6637"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/media\/6609"}],"wp:attachment":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/media?parent=6328"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/categories?post=6328"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/tags?post=6328"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Image 2:<\/h2>\n\n\n\n
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<\/figure>\n\n\n\n<\/figure>\n<\/div>\n\n\n\nExhibition Layout:<\/h2>\n\n\n\n
Annotated Bibliography<\/h2>\n\n\n\n
Sources<\/h2>\n\n\n\n