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Long-time collector Harriet Szechenyi concentrated on collecting netsuke of animals and celestial beings. A considerable part of the collection consists of so-called shishi (lion dogs). These beautiful miniature art objects have been described at length by Rosemary Bandini. beautiful Japanese art form. The appendix contains pictures of the signatures found on the netsuke, a very useful guide to the collector.
For collectors who have discovered the delights of such miniature Japanese art forms as theinroand thenetsuke, this authoritative and enlightening book offers a wealth of valuable information. That it also affords entry to a world of fascinating design and superb craftsmanship goes without saying. In addition to illustrating in color and discussing in detail 108 distinguished inro and their accompanyingnetsuke, as well as 18 related miniature objects, it presents highly informative essays on the making ofinro, on pearl shell inlays, and, in particular on the materials and techniques of lacquer art, the last of these with 62 color photos. It also furnishes an extensive list of lacquer artists' signatures with 386 photos. It is refreshing to have an author tell his readers not only what his book is but also what it is not. In his introduction Bushell says: "This book is addressed to the collector ofinro, netsuke,and other forms of miniature Japanese art, with emphasis on works in lacquer. Its purpose is specific and limited. It is not a comprehensive study of lacquer. It is not a historical survey, a technical analysis, a comparative examination, or a compendium of terms and definitions. In point of time it is limited to the Tokugawa, Meiji, Taisho, and early Showa periods. In point of craft it is limited to the later development of precise and sophisticated techniques, with their brilliant decorative effects." Bushell points out that he is not making an unnecessary emotional appeal in praise of lacquer. His objective is far more practical. This book is the product of his efforts to understand the structure underlying the beauty of lacquer art and to provide clear and simple explanations. Because other books on the subject had not satisfied him, he undertook his own basic research, and here he presents the information he acquired through painstaking study with master lacquer craftsmen and other authorities.
Japanese export lacquer exerted an influence on European art and decoration quite out of proportion to its physical presence in Europe. The vast amounts shipped from Japan -- mainly in three stages (1590s-1640, 1639-93, 1800-40s) -- demonstrate the need for the study of this beautiful material. Japanese export lacquer is the first full treatment of lacquerware made to European demand, its transportation and the lacquer market in Europe as well as the effect of lacquer and its use in a European context. Trading patterns and its use are described in detail, based on the documentary evidence of Europeans in the Far East, on notes kept by the Portuguese in Japan, on the important and comprehensive archives of the Dutch East India Company and to a lesser extent and for a shorter period, of the English Honourable East India Company, as well as on contemporary comments and inventories within Europe. Full use is made of the sparse Japanese documentation of the trade, only available for the period 1709-11and the early nineteenth century. Reference is also made to additional records kept by American ships' captains and supercargoes from Massachusetts. While the Portuguese seem to have regarded Japanese lacquer as mainly suitable for use as grand gifts, particularly within the Habsburg family network, it is surprising how much of the lacquer for the Portuguese market (the so-called Namban lacquer) survives in Europe, testifying to extensive (undocumented) private trade, as well as the orders of the Society of Jesus. The Dutch used lacquer as gifts and for trade. The English Company never traded in lacquer but was involved in many private transactions. The inter-Asian markets were vital to theDutch, particularly where lacquer was regarded as suitable for gifts to Oriental potentates. This is well documented and descriptions of orders for lacquer elephant howdahs and carrying chairs inform us of what has been lost. Th
With dozens of photos and illustrations, A Introduction to Netsuke is a readable and thorough guide to Japanese miniature art. Among the many Japanese fine arts, few have aroused greater admiration than the netsuke. This miniature piece of Japanese sculpture, approximately 1 1/2 inches in size, was designed (in the absence of pockets on kimonos) as an aid in suspending articles such as tobacco pouches from the sash of a kimono. It developed in ancient times as a utilitarian object, but became in the 16th century an artistic one as well, and flourished as such until 1926. No longer commonly worn, the netsuke is now a collectors' item, avidly sought throughout the world by those sensitive to its fine qualities. This book opens the miniature world of netsuke to those who have hitherto been unaware of its existence. In a delightfully lucid manner, the basics of the netsuke are presented-definition, origin, development, materials, statistics, and photographs. This book admirably fulfills its task of introducing the netsuke to the layman, irresistibly drawing him to new pleasures in aestheticism and culture.