Inro
ca. 1875-1915 (made)
The inro is a container made up of tiers. Japanese men used them because the traditional Japanese garment, the kimono, had no pockets. From the late 1500s onwards, Japanese men wore the inro suspended from their sash by a silk cord and a netsuke (toggle). They originally used it to hold their seal and ink or a supply of medicines. However, it rapidly became a costly fashion accessory of little or no practical use. Most inro are rectangular with gently curving sides.
Lacquer was most commonly used in the manufacture of inro since it was highly suitable for storing medicines. Lacquer is the sap from the tree Rhus verniciflua that grows mainly in East Asia. After processing, it is applied in many thin layers to a base material. The craft of lacquering, as well as making inro bodies, is highly complex, time-consuming and expensive.
From the 1700s onwards, many artists signed the inro they made. This example is signed Seisei [Ogata] Korin (1688-1703). Korin was a follower and the greatest exponent of the versatile artist and craftsman, Hon’ami Koetsu (1558-1637). Koetsu pioneered a distinctive style of lacquerwork that made use of relatively straightforward techniques of lacquer, with inlays of shell and lead. His designs are usually in silhouette with little or no interior detail. This inro is decorated with thatched huts on a gold lacquer ground. The ground is of very fine, dense gold powder, interspersed with larger gold flakes sparingly sprinkled on, a characteristic of Korin’s work. This inro, however, is a much later work in the style of Korin.
Lacquer was most commonly used in the manufacture of inro since it was highly suitable for storing medicines. Lacquer is the sap from the tree Rhus verniciflua that grows mainly in East Asia. After processing, it is applied in many thin layers to a base material. The craft of lacquering, as well as making inro bodies, is highly complex, time-consuming and expensive.
From the 1700s onwards, many artists signed the inro they made. This example is signed Seisei [Ogata] Korin (1688-1703). Korin was a follower and the greatest exponent of the versatile artist and craftsman, Hon’ami Koetsu (1558-1637). Koetsu pioneered a distinctive style of lacquerwork that made use of relatively straightforward techniques of lacquer, with inlays of shell and lead. His designs are usually in silhouette with little or no interior detail. This inro is decorated with thatched huts on a gold lacquer ground. The ground is of very fine, dense gold powder, interspersed with larger gold flakes sparingly sprinkled on, a characteristic of Korin’s work. This inro, however, is a much later work in the style of Korin.
Object details
| Object type | |
| Brief description | Inro depicting thatched dwellings in gold takamakie lacquer on a gold lacquer ground inlaid with pearl-shell and lead, signed seisei Korin, ca. 1875 - 1915 |
| Credit line | Sage Memorial gift |
| Summary | The inro is a container made up of tiers. Japanese men used them because the traditional Japanese garment, the kimono, had no pockets. From the late 1500s onwards, Japanese men wore the inro suspended from their sash by a silk cord and a netsuke (toggle). They originally used it to hold their seal and ink or a supply of medicines. However, it rapidly became a costly fashion accessory of little or no practical use. Most inro are rectangular with gently curving sides. Lacquer was most commonly used in the manufacture of inro since it was highly suitable for storing medicines. Lacquer is the sap from the tree Rhus verniciflua that grows mainly in East Asia. After processing, it is applied in many thin layers to a base material. The craft of lacquering, as well as making inro bodies, is highly complex, time-consuming and expensive. From the 1700s onwards, many artists signed the inro they made. This example is signed Seisei [Ogata] Korin (1688-1703). Korin was a follower and the greatest exponent of the versatile artist and craftsman, Hon’ami Koetsu (1558-1637). Koetsu pioneered a distinctive style of lacquerwork that made use of relatively straightforward techniques of lacquer, with inlays of shell and lead. His designs are usually in silhouette with little or no interior detail. This inro is decorated with thatched huts on a gold lacquer ground. The ground is of very fine, dense gold powder, interspersed with larger gold flakes sparingly sprinkled on, a characteristic of Korin’s work. This inro, however, is a much later work in the style of Korin. |
| Collection | |
| Accession number | W.229B-1921 |
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| Record created | February 10, 2006 |
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