Edo’s playful artwork fits in the palm of your hand 【Part 1】
Ise Netsuke Craftspeople Mr. Daishin, Ms. Asuka Kajiura, Mr. Yasuhira Taira
What is netsuke?
Kimonos don’t have pockets. Therefore, kimono wearers attach a string to an inro (seal case) or to a tobacco pouch, and hang it from their obi (kimono sash belt). An object known as a netsuke is attached to the end of the string, and passed through the obi. It is said that Japanese people started making netsuke about 400 years ago. Even though they are small, 3-4cm carvings, they are highly valued as elaborate decorative artwork; and there are many collectors, even overseas.
Their motives are different, but they work for the same master: Mr. Tadamitsu Nakagawa
Editor
“What brought you three to the world of netsuke?”
Daishin
“I studied fashion design. I considered pursuing a career in fashion, but in the end I decided to work in temples, so I trained myself at Higashi Honganji temple. After that training, I went home. At that time, there was an exhibition of Ise Shima Kiborikai, where I first saw netsuke. I thought they were beautiful. The master was there at the exhibition, so I asked him to teach me.”
Kajiura
“I used to work as a newscaster at NHK. I was in charge of a program called Traditional Techniques in Tokai, which was broadcast in the evening. During that period, I became aware of the problem that there aren’t enough apprentices in Japanese traditional arts. I thought that, in order to preserve such wonderful traditions, we need to spread that wonder to more people. But there aren’t enough craftspeople doing that. So, I thought that I should become a craftswoman, and then I could show and tell how cool craftspeople are.”
Taira
“In January 2009, I watched a TV program called The Vase of Beauty, in which they introduced Ise netsuke. They showed a close-up of a carving called maru nezumi (a curled-up mouse). I thought that it was so intricate, it looked alive. When I found out how tiny it was in real life, I was shocked. I wanted to buy it. But when I searched for it, I realized it was too expensive for me to buy. However, I wanted to make it, because I’ve always liked detailed work. Two months after I watched the program—it was March by then—I went to see the master in Ise.”
Editor
“I see. You all had different motives, but you all have the same master, Mr. Tadamitsu Nakagawa. Was the training period a difficult one?”
Daishin
“There’s no time limit for the training. It doesn’t necessarily have an end. Even now, I visit the master every week to show him my artwork.”
Kajiura
“At the beginning it was difficult for me to sit cross-legged. In Japan, women don’t sit cross-legged very often. In preparation for holding a chisel or another tool, I would sit with my legs crossed. Since I don’t have a lot of strength, I use long-handled chisels so that I can push them using my shoulders.”
Taira
“I used to live in Hyogo Prefecture. I moved to Matsuzaka for the training, and I practiced netsuke, while working part-time at a farm. In November 2014 when Kinchika [1] was opened, the owner asked me to manage the shop (and assist at another shop Kikuichi [2], which stood across the street) on the condition that I could practice netsuke there when the shops weren’t busy. I was really happy with that job offer. It’s hard to find a job with such great conditions.”
[1] A sister store of Ise Kikuichi. They sell Japanese handicrafts, run a gallery, and organize the netsuke workshop.
[2] A long-established knife shop in Ise Gekusando. Nowadays, the shop also sells handicrafts and Ise souvenirs in order to promote Ise culture.
Just by looking at a piece, the master knows which apprentice carved it
Editor
“You three are about the same age, and you have the same master. Is your artwork getting more similar to one another’s, or is it getting more different?”
Taira
“First we all carved a chestnut. The basic rule is to make something round that would fit comfortably in one’s hand. After that, each of us came up with unique themes or motifs. I mainly make animals. These days I make shells too. I am trying to be creative with colors.”
Daishin
“I make robust things that wouldn’t break even if you threw them against the wall. If I make an insect, it’s important how realistic it looks. I can manage to carve its legs, but carving its antennae is so challenging. Round carvings are nice to touch, so I try to make them smooth. But I don’t want them to be flat. I try to see how far I can go with my ingenuity. When I make yokai monsters, I enjoy stretching out with my imagination to express their cuteness, scariness, and other unique aspects. The expression I create on each yokai’s face is enough to make you imagine their story. Even if yokai are fictional characters, these motifs will convey their stories to you. How to express them in netsuke is another theme for me.”
Kajiura
“I create things that make you happy when you hold them in your hand, and things that make you feel strong when you touch them. For example, kozuchi (a mallet) or a Jizo (a statue of the Buddist deity), which are believed in Japan to bring you good fortune. I create things from which you will receive positive energy when you hold them in your hand, just like charms. Moreover, I make netsuke motifs based on Japanese fairytales; The Monkey and The Crab, Princess Kaguya, The Mouse’s Bride, and The Rolling Rice Ball. Also, I create playful motifs. For example, my artwork of a nezumi (mouse) in a kuri (chestnut) is entitled “squirrel”, because kuri-nezumi means squirrel in Japanese.”
Daishin
“When the master sees our artwork, it’s obvious to him which one of us made it. Every netsuke artwork is small, but it very effectively expresses the artist’s personality through his or her design and theme.”