The inro is a container made up of tiers. From the late 16th century, Japanese men wore an inro suspended from their sash by a silk cord and a netsuke (toggle) because the traditional Japanese garment, the kimono, had no pockets. They were originally used to hold their owner’s seal and ink or a supply of medicines. However inro rapidly became costly fashion accessories of little or no practical use. Most inro are rectangular with gently curving sides.

With the adoption of western dress from the mid 19th century onwards, inro gradually fell from use and were actively seen as old fashioned. Over time, the knowledge and skills to make inro were also lost. In more recent times, with the renewed interest in the forms and designs of past lacquerwork, a number of craftsmen attempted to rediscover the complex production methods of inro. Tomizo Saratani is one such lacquer artist who has successfully produced a number of inro. Born in Kyoto in 1949, saratani learned the art of lacquering from his father. He not only works in a wide variety of forms and styles, but has also been involved in lacquer restoration. Although this inro is late 20th century, its subject matter and lacquer techniques are completely traditional in style.