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Japanese netsuke figurines. Meaning and Meaning

Japanese netsuke figurines. Meaning and Meaning

10.07.2019

Netsuke(jap. 根付 netsuke) - a small symbolic carving. It is made mainly of ivory or wood. In ancient times, the Japanese used netsuke to attach keys, a purse to a kimono belt, but also netsuke also served as a decoration for clothes.

In Japan, the first netsuke appear in the second half of the 16th - early 17th centuries.

Netsuke sashi depicting Jesus Christ, ivory, 17th century

Netsuke was used as a hanging keychain on traditional Japanese clothing, kimono and kosode (帯鉗), which were devoid of pockets.

Small items like a pouch or a key were placed in special containers (called sagemono (下げ物). The containers could be in the form of pouches or small wicker baskets, but the most popular were drawers (inro), which were closed with a bead that slid along a cord (ojime).

Netsuke holding inro on obi

Inro were attached to the kimono belt (obi) with a cord. He was tied into a ring, folded in half and passed through a belt. A netsuke was attached to one of the ends of the resulting loop. The cord knot was hidden in one of the two himotoshi(紐解) - netsuke holes connected by a through valve. Thus, netsuke served at the same time as a kind of counterweight and elegant decoration of clothes.

Netsuke attached to inro, engraving by Katsushika Hokusai

Netsuke on the right

Some people equate netsuke with okimono, but this is not necessary. Netsuke and okimono are very similar, but in terms of purpose and symbolism, they are completely different figures.

Okimono- These are figurines used for decoration and decoration of the interior. These figurines can be made of any material and do not have any influence on the fate of a person, unlike netsuke.

Since ancient times, netsuke differed in typology and forms. The same netsuke difference has been preserved to this day.

Figures and types of netsuke

Katabori (形彫) - this is the most famous and familiar type of netsuke for many. Small carvings depicting animals and people, multi-figured groups. This species was popular in the XVIII - XIX centuries.

katabori

Anabori (穴彫) - a subgroup of katabori. These netsuke were made from a shell, inside which storylines were created.

anabori

Sasi (差) - This form of netsuke is one of the oldest forms. These netsuke are made in the form of a bar with an eyelet for a lace. They could be made of different materials, but were mostly made of wood. The method of using this type of netsuke was different from others.

If katabori, manji and others were used as a counterweight, then sashi was plugged into the belt in such a way that the hole was at the bottom, and a wallet, keys, etc., hung on a cord passed through it. at the top of the belt.

Usually sashi is considered one of the forms of netsuke, but according to some researchers, it is a modification of the sword handle, to which a bag of flint and flint was hung.

Another close analogy of sashi is the adaptation obi - hasami invented in China. In principle, it is similar to sashi, it has a hook on top, but instead of a hole at obi-khasami at the bottom there is a small round thickening, for which a wearable item was tied.

The first netsuke sashi have survived to this day in very small quantities. In addition, the first netsuke sashi are difficult to distinguish from obi-khasami. Later, during the period of developed netsuke art, the sashi form was probably perceived as archaic and not often used.

Sasi

Mask (面 maine) - reduced copy of Noo's mask. The largest netsuke group. With its properties, the mask is very similar to the type of katabori.

mask

Manju (饅頭) - these netsuke were made of ivory and had the shape of a circle. Sometimes the manju was made from two semicircles. Sometimes it is made of two halves. The image is given by engraving, which is usually accompanied by blackening. It got its name from its resemblance to the round, flat manju rice cake. One of the peculiar varieties of manju is compositions made up of several miniature theatrical masks.

manju

Itaraku- these netsuke were made of reed or wire. They wove in the form of boxes of pumpkins and other shapes.

Ryusa(柳左） — Form variant manju. The main difference between this form and the usual manju in that it is empty inside, and one (upper) part is made using the technique of through carving.

When ryusa made from two detachable halves, then usually the material was selected from the middle using a lathe. This form was especially often used in Edo, where the famous carver Ryusa lived (active in the 1780s), after whom it is named.

It is believed that this form, like the manju, became especially widespread in connection with the earthquakes of the Ansei period (1854-1860), and especially with the Edos earthquake of 1855, when many netsuke were destroyed and a need arose for new products. Ease of manufacture ryusa compared to, for example, katabori or kagamibuta and influenced their predominant distribution at that time.

ryusa

Kagamibuta (鏡蓋)- is also similar to manju, but it is a flat vessel made of ivory or other bone, horn, rarely wood, covered with a metal lid on top, on which the main part of the decoration based on a wide range of techniques is concentrated. The signature on such netsuke usually belongs to the metal master.

kagamibuta

Of course, each image had its own purpose.

So, for example, stamina, courage and fortitude were provided by the figurine of a sage Daruma ,

Daikoku with a bag of magic rice promised wealth,

and gave good luck Ebisu with a magic carp in their hands (it was believed that how difficult it is to catch a carp with your bare hands, it is so difficult to find peace of mind and balance).

Happiness and good luck, which always go together, was bestowed by a double figurine - Daikoku And Ebisu .

Seekers of health and longevity wore a figurine of the god of happiness shousina who was holding ginseng and magic peach.

Those who had a cherished desire turned to the god of happiness, fun and communication Hotei, it was he who was always depicted either sitting or standing, but always smiling. To fulfill the plan, it was necessary to stroke the figurine on the stomach three hundred times, while thinking about what was desired.

Travelers took a figurine Futen, which promised a fair wind and good luck on the way. He was depicted as a man carrying a bag on his back and with a serene smile on his face.

Samurai gave. strength of mind, courage and courage

The queen of heaven, Sivanmu, drove away the winds of adversity with a fan.

Creative people were helped by a figurine of a man listening to a shell. A huge variety of figurines, and, accordingly, missions, made it possible to choose the one necessary for a particular situation and use it to solve difficulties.

But these gizmos are known all over the world not only as lucky amulets. The fact is that many real artists created tiny, but very expressive netsuke, and then these figurines became masterpieces of world art.

Japanese netsuke: miniature figurines

Netsuke with a secret

Ebisu with fish and basket.
Early 20th century, bone carving

Shousin with staff and peach.
Late 19th - early 20th century, bone carving, staining

Hotei with a fan and a bag.
Late 19th century, bone carving, staining

Jurojin with a scroll.

Bone carving, blackening.

Okimono Bishamonten with pagoda.
Bone carving, 19th century

Jurojin, one of the seven gods of fortune

DARUMA DOLL SELLER, master YASUYUKI

Ivory, carving. Second half of the 19th century Netsuke of the famous master
Yasuyuki depicts a caricature scene typical of Edo at the time. The peasant came to trade in
Edo before the new year with Daruma dolls of their own making.

NETSUKE IN THE FORM OF MANJU master KOYUSAI
Ivory. Diameter approx. 4 cm. 19th century

NETSKE "GEISHA AND DEMON"
Ivory. Height approx. 4.2 cm. 19th century
A fine example of the work of Masatsuge, the Edo school. Rare plot

THEATER ACTOR BUT IN THE ROLE OF A DEMON.
Ivory. Gold lacquer, red lacquer, blackening, gold inlay and
mother-of-pearl. Height approx. 3.8 cm. Early 19th century. Master Sugoku (Hidetama)
Rare netsuke

Kanu (Guan Yu) with a halberd. 19th century, bone carving

ACTOR IN THE ROLE OF A WEREFOX.
Cherry (?), ivory. Height approx. 4 cm
First half of the 19th century. Signature: Hogyoku.

Netsuke "Boy with a book" (drawing boy)

netsuke crab

MOTHER AND CHILD. HOUSEHOLD SCENES.
Ivory, tinted,
engraving. Height approx. 4.2 cm Second half of the 19th century Master Shosai.

THE BLIND ONE PULLING THE STONE FROM THE GET
Ivory. Height approx. 5.8 cm. First half of the 19th century. Signature: Kogyoku.

MOTHER WITH CHILD
Ivory. Height approx. 4 cm. Second half of the 19th century.

TENAGA-LONG-ARM AND OCTOPUS
Deer horn. Length 12 cm. Late 18th - early 19th century. Signature: Beisai.

FUKUROKUJU, god of health, wisdom and longevity, HOT BATH TAKER

Boxwood, ivory. Height approx. 5.3 cm. 1840-1860 Signature: Toyo.

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Historically, the term okimono referred to small sculptures or decorative objects placed in the tokonoma of a traditional Japanese dwelling. In a broad sense, okimono refers to everything that is put on a shelf for interior decoration: bone carvings, dolls, flower vases, etc.

Okimono, both in design and in plots, and often in size, is similar to netsuke, but in okimono there is no hole for the cord, which is in the netsuke.

Kazuo's work has been exhibited at several international exhibitions and rightfully won the fame of the "Japanese Madonna". In the image of a young mother, one can guess the resemblance to the famous Benois Madonna by Leonardo da Vinci. The master created several versions of it - in bronze (one of the copies is in the collection of Nasser D. Khalili), in wood and bone. The most valuable, of course, is the model carved from ivory, which adorns the collection of A. Feldman.

Legends of Japan in sculpture

Winged Tennin. Japan, Meiji period (1868-1912) Gyokudo master signature.

In the art of Japan, the motif of the swan girl is widespread. She is called the "crane wife" (tsuru nyobo), "celestial wife" (tennin nyobo), or hagoromo ("feathered garment").

The image of Tennin can be found throughout Japan in fairy tales or local legends in which swans turn into beautiful women.
For the first time this motif is mentioned in several descriptions in the 8th century, and finds its classical embodiment in the play of the Noo theater.

There is another version of the legend: every morning swans (shirotori) descended from the sky and turned into beautiful girls; they collected stones and built a dam, and flew away in the evening. This motif gave its name to the Shirotori village of the same name, which still exists today.

The "seven gods of happiness" in Japanese mythology are deities that bestow high virtues and bring happiness: Ebisu, Daikomu-ten, Hotei, Jurojin, Fukuroju, Bishamon-ten, Bensai-ten. The cult of the "Seven Gods of Fortune" began to take shape at the beginning of the 15th century among the urban population of Japan under the influence of Shinto, Chinese and Indian beliefs. The primary source for the seven deities are the well-known characters of numerous works of Chinese literature and painting "seven wise men from a bamboo grove".

Goddess Kannon. Meiji period (1868-1912)

The interpretation of the "seven deities of happiness" clearly shows the interpretation of Buddhism characteristic of the Japanese: the deities of the Buddhist pantheon must provide "goods in this world" (longevity, well-being). The earliest image of the "seven gods of happiness" belongs to a Buddhist monk of the 15th century. It is believed that when a certain ritual is performed at the beginning of the year, the "Seven Gods of Happiness" provide a person with prosperity for the whole year.

Figure "Guan Yu (Kang Wu)". Japan, Meiji period (1868-1912)

There is a legend that in 1856 he helped put down an uprising led by Tai-ping Tianguo, appearing before government troops on a fire-spitting dragon. Not surprisingly, the images of Guan Yu served as a kind of talismans for Chinese warriors. Since valor and courage are honored by many people, Guan Yu was revered in China by Buddhists, Taoists, and Confucians. The townspeople hung his images in their shops and shops. The image of a fearless warrior in the popular mind has become a symbol of an intercessor. Legends attributed to Guan Yu the ability to cause rain during a drought, stop floods, pacify demons and protect people from diseases. They say that he can appear at the bedside of the sick and put magic healing golden pills into the hand of the afflicted.

Symbol of the year:) Bronze tiger. Japan, Taishō period (1912-1926)

Lamp with the image of a dragon and irises. Japan, Meiji period (1868-1912) Signed by master Miyao Eisuke.

In Japanese legends and myths, the dragon personifies powerful divine powers.
If the dragon is treated with due respect and respect, he can generously thank the person, since dragons are considered fabulously rich. For example, in the legend of the Dragon King, a young samurai is rewarded for saving the dragon's daughter with a golden pie that never shrinks no matter how much you break it off.

In Japan, images of dragons adorn Buddhist temples and ablution fountains before worship.
The dragon, as a character of Japanese folk mythology and folklore, has two meanings in Japanese culture: on the one hand, it is one of the incarnations of the deity of water, and on the other hand, it is a perfect independent, very revered deity that plays a huge role in Japanese culture.

Iris flowers are especially revered in Japan.

Many customs and rituals are associated with them. For example, in the Middle Ages, officials wore wigs made of iris leaves, and children used bundles of irises as a whip and competed to see who could hit them the loudest. Crushed leaves were also added to sake - this is how a ritual drink was obtained. The Japanese believe that a necklace with iris leaves prevents colds and cleanses from sins. Until now, iris flowers adorn hairstyles, outfits, household items, and interiors.
A special holiday dedicated to this ancient plant is the Iris Festival (Shobu no Sekku), which is celebrated on May 5th. Another name for this day is the Boys' Festival (Tango no Sekku). The relationship here is simple. Iris leaves are xiphoid, thin and flat, reminiscent of a cold weapon blade. Therefore, iris in Japan personifies the samurai spirit and symbolizes success and health, and iris amulets protect boys - future warriors - from diseases and endow them with courage.

Sculpture of Emperor Jimmu. Japan, Meiji Period (1868-1912) Signed by Master Kisetsu.

The first Emperor Jimmu is especially revered in Japan, many temples are dedicated to him.
The history of its appearance is rooted in the ancient Japanese myth of the origin of the world. Jimmu Tenno (Heavenly Sovereign) (660-585 BC) - the first emperor of Japan, the ancestor of all the Japanese. The Emperor of Japan is considered to be the representative of the Deity of the sun Amaterasu on Earth, and only through him is the connection between people and the Deities realized.

"Boys with bags of wealth and bamboo branches." Japan, Meiji period (1868-1912). Miyao workshops.

The sculptures depict two symmetrically arranged Chinese boys with large bags behind their backs and bamboo branches in their hands. The image of boys in Chinese and Japanese symbols carries a benevolent meaning to the owner: they wish you to have healthy offspring. Images of large bags - to wealth. Bamboo is a symbol of flexibility and longevity.

Vase with the image of carps. Japan, Taisho Period (1912-1926).

In Japanese mythology, carps are the personification of strength and perseverance in achieving a goal and symbolize courage and endurance, stamina and perseverance. Such a perception of the image of a carp is due to the fact that it purposefully overcomes the rapids of the river to reach its mouth.
Like this fish moving upstream and up the waterfall, men must overcome life's obstacles and make a name for themselves. Therefore, items with the image of a carp are suitable for those who would like to have a strong character and such qualities as courage and patience.

Lao Tzu on a buffalo. Japan, End of the Edo period (1600-1868).

Lao Tzu (Old Child, Wise Old Man) - ancient Chinese philosopher of the 6th-5th centuries BC. e., one of the founders of the current of Taoism, the author of the treatise "Tao Te Ching" (The Canon of the Way and Grace, another name is "Three Carts" - written on bamboo occupied three carts)

Hotei with bag and staff. Japan, Meiji Period (1868-1912) Signed by Master Kasetsu.

In ancient Japanese mythology, Hotei is the god of happiness, abundance and carefree life, who is also the protector of children. In the 17th century, he was canonized in Japan and became one of the Seven Gods of Fortune. It is believed that he predetermines people's destinies and helps in the fulfillment of cherished desires.
The prototype of Hotei is a Chinese Buddhist monk named Chi-Tzu of the 9th-10th centuries, who became famous for predicting lucky signs and was considered the earthly incarnation of Maitreya. He had an unusual appearance (short stature, a large protruding belly) and was distinguished by his peculiar behavior (he walked around the monasteries in a half-naked form with a linen bag on his back). The legend says that where he appeared, good luck, health and prosperity came to people. Hotei was usually depicted as a smiling, shaven-headed fat man in a monastic robe and with a huge bag. If anyone asked what was in the bag, he answered: "I have the whole world there." His earlobes are elongated. Hotei is always barefoot, and his fat belly is by no means the result of immoderate food consumption, but the embodiment of his qi, inescapable life force.

Jurojin and heir to the Chinese throne. Japan, 1937 Joint work of masters Takeyuki and Ryozan.

It is believed that the Chinese founder of Taoism, Laozi, served as the prototype of the Japanese deity Jurojin. He is usually depicted as an old man with a long white beard. The attributes of the Jurojin deity are most often a staff, a scroll, a staff of Ruyi, and perennial animals such as a deer, a turtle, and a stork. It is believed that the Jurojin scroll contains information about all creatures living on earth and the secrets of longevity and immortality. The Wand of Ruyi is the Wand of Wish Fulfillment and Lucky Omens. From Chinese, "ruyi" can be translated as "whatever you want." It is believed to bring good luck and grant wishes. Ruyi's wand is often shaped like the magic mushroom Lingji.
In this composition, Jurojin is depicted holding a staff and a scroll. Ruyi's wand is in the boy's hands. From the hieroglyphs engraved on the scroll (lit. Scroll for the Chinese "Son of Heaven"), it can be judged that this scroll is intended for the training of the young emperor. Also, the pattern on the boy's clothes and cap shows that we have before us the young emperor of China, whose mentor is the deity Jurojin.

Confucius. Japan, Meiji period (1868-1912). Satsuma workshops.

Confucius (551-479 BC) was born in China, in the province of Shandong. The main views of the philosopher are set forth in the book "Conversations and Judgments" ("Lun Yu"), which is a record of the sayings and conversations of Confucius with his closest students and followers. When Confucianism became the dominant doctrine in China (after 136 BC), the philosopher was proclaimed "teacher of 10 thousand generations", and his cult was officially maintained until 1911 (the beginning of the bourgeois Xinhai revolution).

Incense burner depicting Kirin and phoenixes. Japan, Meiji period (1868-1912)

In Japanese mythology, a Kirin is a creature with a dragon's head, a deer's body and wings, with the hooves of a horse, a single horn on its head, and a skin of five colors. According to legend, Kirin is a good-natured animal that never steps on living plants and does not harm anything living. Therefore, the image of Kirin contributes to auspicious events in life.
According to Chinese legend, Kirin appeared at the bedside of Confucius's mother when she was about to give birth to her famous son. The Chinese believe that the images of Kirin in the house serve to protect the owners of the house from the effects of external negative forces. Protecting the owner, Kirin takes away all the negative energy that comes from outside.
Phoenix is a universal symbol of immortality in all world mythologies, a symbol of rebirth in fire. Legend has it that when a phoenix senses the approach of death, it builds a nest of fragrant wood and resins, which it then exposes to the scorching rays of the sun until it burns to ashes in their flames. Then a new phoenix arises from its remnants. This "fiery bird" symbolizes the divinity of royal power, nobility and uniqueness. According to tradition, in Japan, the phoenix is a symbol of the sun and a symbol of the emperor.

Okimono Hotei. Satsuma workshops. Japan, Meiji period (1868-1912)

Setsubun Festival. Japan, Meiji period (1868-1912) Signature of Master Gyokushu.

The master recreates the scene of the Setsubun holiday - one of the oldest holidays in the country, which is celebrated in Japan on the night of February 3rd to 4th. On this night, the Mame-maki (bean throwing) ceremony is held in the houses.
Usually this honorable rite is performed by the owner of the house, saying "Oni wa soto - fuku wa uchi", which means "hell out, happiness in the house." After that, the beans are harvested and eaten as ritual food to ward off all sorts of illnesses. It is believed that you need to eat as many beans as you are old, and one more in order to be healthy and successful in business in the coming year.

Original entry and comments on

Okimono (Jap. 置き物, 置物, lit. "thing to put [on display]"; "carving") is a work of Japanese arts and crafts, a figurine designed to decorate the interior.

Historically, the term okimono referred to small sculptures or decorative objects placed in the tokonoma of a traditional Japanese dwelling.

In the traditional European sense, an okimono is a figurine.

Okimono is similar to netsuke both in design, in plots, and often in size, but in okimono there is no hole for the cord, which is in netsuke. An example of a traditional okimono is the Daruma figurine.

In a broad sense, okimono refers to everything that is put on a shelf for interior decoration: bone carvings, dolls, flower vases, etc.

Quite often, okimono in terms of plot, expressive means and size approach netsuke, but unlike them, they do not have a hole for a cord and can be used for purely decorative purposes.

Okimono, as a type of miniature plastic designed to decorate housing, became widespread around the 16th century, when a special niche (tokonoma) became accepted in the architecture of the home, in which a beautiful scroll, ikebana or small statuettes of Buddhas and Bodhisattvas were placed.

Over time, the plot-thematic repertoire of miniature sculpture expanded, and already in the engravings of the Edo period (1603-1866) one can see figures of saints, monks, animals of the sexagesimal cycle, seven deities of happiness as okimono. Such figurines were purchased not only to attract good luck, but also as a memory of a pilgrimage to a distant temple, and as a gift, and simply for the sake of decorating the interior.

After the Meiji Revolution (1866-1869), Japan, embarking on the path of modernization, takes part in the World Industrial Exhibitions. At the World Exhibition in Vienna, among the items representing the achievements, cultural traditions and crafts of the country were ivory carved okimonos. Given the scale of the exhibition hall, the Japanese carvers increased the size of the figurines. This is how the type of okimono appeared, which has become a collector's item in the West.

The Meiji reforms, which established the European dress as formal wear, rendered the production of netsuke meaningless. Carvers turned to okimono, for which, after a series of World Exhibitions, demand increased in the art markets of Europe and the United States. The interest of Europeans in miniature sculptures determined new requirements for bone sculptures, which were now intended to decorate European interiors.

The dimensions of okimono became much larger (from 20 to 50 cm), their surface was carefully processed, and most importantly, the European viewer had to be addressed in a plastic language that he understood. This is how the phenomenon of Japanese realism arose, in line with which the okimono masters worked.

Japanese plots were embodied in authentic figurines striking with the thoroughness of the modeling of the form. The plastic traditions that developed in Europe over the centuries were mastered by Japanese carvers over decades.

During the 20th century, due to world wars, economic crises and the ban on ivory mining, the number of master carvers dropped sharply. The high cost of work (it took from several months to several years to make one figurine) made it impossible to sell on the domestic market. The reorientation exclusively to export led to a decrease in the artistic level of okimono: models were repeated, the plastic property of objects worsened.

Basically okimono are made of wood, ivory, bronze, silver. Combinations of these materials are not uncommon. To give a greater decorative effect, the craftsmen used inlay with mother-of-pearl, enamels, coral, and gold lacquer. The most valuable are items made of ivory, sometimes tinted with tea solution and decorated with engraved ornaments.

Okimono carvers were most often netsuke masters and sculptors who specialized in making statues for Buddhist temples. The introduction of European dress as official clothing and the closure of many Buddhist monasteries brought unemployed carvers into the ranks of okimono masters. They brought familiar plots, models, compositional solutions, and carving techniques to this type of art. On the other hand, the range of subjects was also determined by the demand of European buyers.