Inro thumbnail 1
Inro thumbnail 2
Not currently on display at the V&A

Inro

ca. 1750-1850 (made)
Artist/Maker
Place of origin

The inro is a tiered container that was traditionally worn by men only. The traditional Japanese garment, the kimono, had no pockets, and men first used the inro to carry daily necessities. From the late 1500s onwards, men wore it suspended from their sashes by a silk cord and netsuke (toggle). However it rapidly became a costly fashion accessory of little or no practical use.
Although lacquer craftsmen could create their own original designs, they also adapted designs by leading painters, past or present. A painting could usually be adapted to one side of an inro quite easily. This example is signed by the lacquer worker, who acknowledges the origin of the design as the painter Kano Tsunenobu (1636-1713). Unfortunately no corresponding painting by Tsunenobu has been found.


Object details

Categories
Object type
Materials and techniques
Black, gold and silver lacquer, with gold foil
Brief description
Inro, black, gold and silver hiramakie (low sprinkled picture) and hiramakie (high sprinkled picture) lacquer with gold foil, signed Kajikawa, eagle and waves, ca.1750-1850
Physical description
The inro, of rectangular form and elliptical cross-section, is decorated with a raised eagle in gold foil flying over waves breaking on rocks on a black lacquer ground. The interior is of nashiji lacquer.
Dimensions
  • Height: 7.8cm
  • Width: 6.3cm
  • Depth: 2.6cm
Style
Marks and inscriptions
Translation
Kajikawa after a design by Tsunenobu
Credit line
Pfungst Gift
Subjects depicted
Summary
The inro is a tiered container that was traditionally worn by men only. The traditional Japanese garment, the kimono, had no pockets, and men first used the inro to carry daily necessities. From the late 1500s onwards, men wore it suspended from their sashes by a silk cord and netsuke (toggle). However it rapidly became a costly fashion accessory of little or no practical use.
Although lacquer craftsmen could create their own original designs, they also adapted designs by leading painters, past or present. A painting could usually be adapted to one side of an inro quite easily. This example is signed by the lacquer worker, who acknowledges the origin of the design as the painter Kano Tsunenobu (1636-1713). Unfortunately no corresponding painting by Tsunenobu has been found.
Bibliographic reference
Julia Hutt, Japanese Japanese Inro, V&A Publications, 1997; plate 66
Collection
Accession number
W.202-1922

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Record createdJanuary 21, 2003
Record URL
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