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were most commonly used to carry medicine. The stack of boxes is held together by a cord that is laced through cord runners down one side, under the bottom, and up the opposite side. The ends of the cord are secured to a
735:
758:
622:
830:
775:
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436:
made from the end of the Edo period to the Meiji period in Japan, but
Masayuki Murata actively collected them from the 21st century, and today the
813:
518:
437:
370:
retained their functionality, having evolved from strictly utilitarian articles into objects of high art and immense craftsmanship.
938:
1046:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains many examples of
1043:
1094:
455:
are made by a few craftsmen. The best lacquer technique from the end of the Edo period to the Meiji period, especially the
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461:
technique, was almost lost in the westernization of
Japanese lifestyle. However, in 1985 lacquer craftsman Tatsuo Kitamura
1079:
999:
964:
927:
894:
1031:
1021:
250:, a kind of toggle that is passed between the sash and pants and then hooked over the top of the sash to suspend the
987:
976:
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and succeeded in recreating them. His lacquer works are collected in the
Victoria and Albert Museum and the
119:
were created for specialized contents, such as tobacco, pipes, writing brush and ink, but the type known as
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30:
with the characters for longevity and good fortune and the "Seven Lucky
Treasures" on checkerboard ground,
1099:
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1084:
421:
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Because traditional
Japanese dress lacked pockets, objects were often carried by hanging them from the
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often beautifully decorated with lacquer. As the technique developed from the late Edo period to the
302:
are mostly made from paper, wood, metal, or ivory, with the most common material being paper. Paper
609:
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to hold the boxes together. This bead is slid down the two suspension cords to the top of the
786:, design of minute patterns in mother-of-pearl inlay, Somada school, Edo period, 19th century
180:
were no longer used as an accessory and came to be regarded as an art object for collection.
93:
8:
501:
636:
472:
417:
687:
story of the weaver and the herdboy, by Nomura Kyūkoku, Edo period, early 19th century
51:
1027:
1026:"Legend in Japanese Art" by Henri L. Joly; 1908/1967; Charles E. Tuttle, Rutland VT;
1017:
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are rarely worn as kimono accessories, but there are collectors all over the world.
209:
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were popular among foreign collectors, there were few of the highest quality
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are commonly decorated with lacquered designs, with the expensively produced
130:
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is a traditional
Japanese case for holding small objects, suspended from the
108:
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165:
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137:
71:
31:
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with design of two hawks on tasseled perches, Edo period, 19th century
953:
704:
with peacocks and flowers, by Koma
Yasutada, Edo period, 19th century
489:, and are an object of collection for the world's wealthy. Nowadays,
149:
682:
386:
146:
became popular as men's accessories, and wealthy merchants of the
856:
602:
with a design of cranes standing beneath a gnarled pine tree and
245:
155:
81:
80:. They are often highly decorated with various materials such as
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when the boxes need to be unstacked to access their contents.
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is suitable for carrying small things, and was created in the
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as unlike wood, it would not distort and crack over time.
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with design of blossoming plums, by Hara Yōyūsai and
316:
paper with lacquer; paper was a popular material for
746:with design of eulalia grass and deer, with eagle
729:), by Kajikawa Bunryūsai, Edo period, 19th century
977:21st Century Museum of Contemporary Art, Kanazawa
487:21st Century Museum of Contemporary Art, Kanazawa
379:was also used as a symbol of power. Today, among
308:are made by winding and hardening many layers of
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824:with the rice ears, by Yamada Joka, 19th century
213:
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57:
1047:
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478:
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364:evolved out of a mostly decorative capacity,
235:Consisting of a stack of tiny, nested boxes,
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113:(a hanging object attached to a sash). Most
76:(sash) worn around the waist when wearing a
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641:). Edo period, late 18th–early 19th century
63:
566:lacquer, Edo or Meiji period, 19th century
264:bead is provided on the cords between the
899:
397:of the higher ranks are allowed to equip
1002:Nikkan Kogyo Shimbun. September 21, 2017
870:
373:For a period of time in the Edo period,
352:, ivory inlay and metal foiling. Though
20:
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168:(1868–1912) and the artistic value of
988:超絶の伝統工芸技術の復元から 世界ブランド構築へのマーケティングヒストリー
282:to hold the stack together while the
92:, and are more decorative than other
1055:Birmingham Museums & Art Gallery
845:animals in a landscape, 19th century
16:Traditional Japanese pillbox or case
1000:雲龍庵とは何者ぞ！細部に宿る漆工の美 超絶技巧の全貌 雲龍庵と希龍舎.
560:cabinet with a waterfall design in
133:and medicine container for travel.
13:
14:
1111:
1037:
829:
812:
791:
774:
757:
734:
709:
692:
667:
662:, Edo period, early 19th century
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939:行司なくして大相撲は成り立たない！土俵支える裏方"行司"とは.
84:and various techniques such as
1016:Handbook", Weatherhill, 2002.
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993:
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1:
990:Web Dentsu. September 5, 2016
863:
889:pp. 104–106. Me no Me, 2017
807:, Meiji period, 19th century
288:is worn, and slid up to the
212:or stamp, and the kanji for
7:
1095:Medicine storage containers
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922:pp. 79–81. Heibonsha, 2014
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1080:Japanese words and phrases
954:Kiyomizu Sannenzaka Museum
752:, Edo period, 19th century
616:, Edo period, 18th century
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578:Kiyomizu Sannenzaka Museum
536:and held together with an
438:Kiyomizu Sannenzaka Museum
422:Victoria and Albert Museum
414:Metropolitan Museum of Art
129:(1467–1615) as a portable
36:Metropolitan Museum of Art
479:
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221:
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50:
965:Unryuan Kitamura Tatsuo.
227:, which means a basket.
189:is a combination of the
471:set up his own studio "
105:in containers known as
1010:Bushell, Raymond "The
967:Lesley Kehoe Galleries
610:Minamoto no Yoshitsune
38:
412:are collected in the
136:In the middle of the
24:
1075:Japanese lacquerware
721:with treasure boat (
633:with fox's wedding (
94:Japanese lacquerware
1070:Fashion accessories
843:Twelve calendrical
637:kitsune no yomeiri
418:the British Museum
158:classes collected
39:
1100:Japanese clothing
1090:Nested containers
1085:Japanese woodwork
885:Masayuki Murata.
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34:, 18th century,
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530:suspended by a
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1038:External links
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140:(1603–1868),
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131:identity seal
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66:"stamp case")
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660:Sakai Hōitsu
448:
406:Today, many
405:
372:
324:
296:
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182:
166:Meiji period
135:
98:
43:
42:
40:
18:
231:Description
174:increased,
1064:Categories
864:References
859:(Scottish)
725:takarabune
608:depicting
512:components
424:. Because
420:, and the
383:referees (
336:featuring
138:Edo period
32:Edo period
183:The term
851:See also
683:tanabata
391:), only
116:sagemono
109:sagemono
920:明治の細密工芸
857:Sporran
749:netsuke
605:netsuke
584:Gallery
533:netsuke
473:Unryuan
449:Today,
361:netsuke
291:netsuke
273:netsuke
246:netsuke
156:samurai
82:lacquer
1030:
1020:
926:
893:
887:明治工芸入門
614:Benkei
563:maki-e
340:maki-e
150:chōnin
88:maki-e
78:kimono
679:with
540:ojime
394:gyōji
387:gyōji
355:ojime
348:raden
312:washi
260:ojime
256:. An
191:kanji
1049:Iiro
1028:ISBN
1018:ISBN
1013:Inrō
924:ISBN
891:ISBN
838:Inro
821:Inro
800:Inro
783:Inro
766:Inro
743:Inro
718:Inro
701:Inro
676:Inro
655:Inro
630:Inro
612:and
599:Inro
557:Inro
527:inro
509:Inro
492:inro
466:北村辰夫
458:inro
452:inro
443:inro
433:inro
427:inro
409:inro
400:inro
381:sumo
376:inro
367:inro
358:and
333:inro
327:Inro
319:inro
305:inro
299:Inro
285:inro
279:inro
270:and
267:inro
253:inro
238:inro
210:seal
193:for
186:inro
177:inro
171:inro
161:inro
154:and
143:inro
122:inro
64:lit.
59:Inrō
44:inro
27:Inro
942:NHK
803:by
524:An
480:雲龍庵
102:obi
72:obi
41:An
1066::
901:^
872:^
841:.
446:.
416:,
403:.
344:,
215:rō
196:in
96:.
62:,
56:,
52:印籠
483:)
477:(
475:"
469:)
463:(
225:)
222:籠
219:(
206:)
203:印
200:(
48:(
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