Studio: international art (2.1894)

Japanese Netsukes

guish between the signature of the first Miwa and signed his work. These recumbent oxen were

those of the rest of the family, especially as the generally about z\ inches long. Shugetsu also

material is often alike, the work being, however, made them in ebony, but his style is quite diffe-

generally more elaborate in the case of his successors, rent from that of Tomotada.

The grosser imitations are easily recognised by any Shusen, a nineteenth-century artist, a clever

one who has seen good examples by the founder maker of rather minute wooden netsukes, is easily

of the school, or by his best known pupils. recognised by the crisp free style of his work, his

The wooden masks by the Denies and their con- stroke of the tool being so sure that, although it is

temporaries, which are also rare and expensive, often visible, the netsuke has an apparently highly

being much prized by a certain class of collectors, finished surface. Rinkei, of whom I have spoken

are also to be regarded with suspicion, for the above, has much the same quality, but was a maker

names are sometimes added to masks equally gro- of okimono, as well as of netsukes, and more

tesque and as rude in execution by contemporary, remarkable for high finish than for vigour or

or at any rate early, carvers. The works of Ikkwan, expression. It would be useless to attempt to

the famous carver of rats, characterise many of the works in wood or ivory,

monkeys, and melons, are without having the objects themselves before one,

more easily recognisable; but but at any rate it is not very difficult to recognise,

the signature is often difficult within certain limits, the age of an ivory netsuke.

to find, being usually cut in This may generally be known by the colour to

fine lines upon the fur, also some extent, although they are frequently coloured

represented by fine and shal- artificially, sometimes to mislead the buyer, but

low lines. They all get worn often, in good work, to take off the crude look of

down by use, until the sig- the ivory, and they are sometimes toned down by

nature, being not only lightly a thin coat of lacquer. Mr. Huish points out that

incised, but in characters a very good guide to their age is the edge of the

somewhat free and hasty, is holes for the cord, which become rounded by fric-

old unsigned scarcely legible to the un- tion in the course of time. But a sharper edge to

netsuke practised eye. But in the these holes is not always an indication of newness,

case of his rats, an examination of the ears and the for the cord may have been knotted tightly, or the

soles of the paws, perfectly executed in the genuine ivory may be that of the narwhal or the mammoth,

netsukes, is of infinite service in identifying them ; both of which are closer grained and harder than

the monkeys of Masaichi (or Masakazu) are less the Indian.

difficult to verify. Tr>e following list of a few of the best known

Toyomasa is easily recognised in his dragons, masters, arranged alphabetically, may be found

serpents, and other wooden netsukes of rather useful, as some guide to the subjects for which

large size, intended generally for pipe-cases. They they are chiefly celebrated :—Akamasa, Akamatsu,

are frequently, usually, indeed, in pierced work, and and Deme Joman were makers of small masks in

have eyes of horn or other translucent material, wood in the seventeenth century, and Boraku in

and there is no mistaking the free and excellent the eighteenth ; Gio-

style of carving. His signature, too, is easily re- kuriu, fruit, chiefly in
cognisable, even in netsukes representing figure wood; Giokusai, mush-
subjects more minutely treated. But Masanao, rooms; Giokusan Asahi,
another excellent maker of netsukes, both of wood skulls and skeletons in
and ivory (of the former, however, by preference), ivory, nineteenth cen-
is less easily recognised, and his signature is not tury; Hogen Tadayoshi,
infrequently forged. The only safe rule with regard wood and ivory, various
to pieces attributed to him is to avoid buying infe- subjects, nineteenth
rior work, for in all probability he never saw it. century; Hokwan, small
Oxen lying down, by Tomotada, are by no figures in ivory; Ichi-
means scarce either in ebony or ivory, and the min, monkeys and rats
genuine ones are excellently modelled and highly in wood; Ikkwan, monkeys, rats, and melons in
finished; but as the subject was a very popular wood; Ikosai, figures, usually in ivory ; Kajitomo,
one, he had many copyists, and unscrupulous mushrooms in ivory; Kogetsu and Kokei, ' frogs
dealers sometimes added his name, for he usually and tortoises in wood ; Masanao, subjects of all

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by deme joman