Inrō

Inrō, or decorative stacked "seal cases," could be called the symbol of the chic samurai dandy of Edo (the former name for Tokyo). From the Edo period (1615–1868) through the Meiji period (1868–1912), changing decorative trends informed the fashioning of inrō. The samurai in Edo, who valued the importance of seasonal aesthetics and changing trends, enjoyed the stylishness of inrō, which were made by highly skilled artisans. There are still many examples of makie (lacquer decorated with designs in sprinkled gold and metallic powders) inrō made by artists who worked for the Imperial Household (teishitsu iin), such as Shibata Zeshin (1807–1891) and Shirayama Shōsai (1853–1923).        

 Inrō were introduced to Japan from China during the Muromachi period (1392–1573). In the beginning they were used, as their name implies, as portable seal boxes. Only in the Edo period did they come into wide use. By that time, their function had expanded so in addition to holding seals, they were also used as cases for carrying medicine.

    Inrō are typically constructed of four or five stacked tiers bound together with a cord. Each tier could function like a small container containing a separate supply of medicine. The inrō cases could be carried in the breast flap or sleeve pocket, but they were more commonly hung from the sash (obi) at the waist, held in place by a carved toggle called a netsuke. As men’s fashion accessories, the samurai’s inrō followed shifting trends, much like the tobacco pouches did for the commoners.

An essential complement to an inrō case is the netsuke (toggle) at the top end of its cord and the sliding cord bead (ojime) below. These, too, were given decorative treatments and served as important fashion elements. Netsuke were often sculpted from wood or ivory and are considered art objects in their own right. Ojime could be made of precious materials such as coral or jade, as well as delicately fashioned metal or carved wood. In this piece, the inrō and the ojime are carved wood, while the netsuke is sculpted ivory, representing an auspicious plump sparrow.

This inrō has been coated with many layers of red lacquer to build up a thick surface, which was then carved with designs—a highly time-consuming and technically challenging technique. Carved lacquer, after being introduced from China during the Muromachi period (1392–1573), was taken up seriously by Japanese artisans. This piece, with its matching carved red lacquer netsuke and ojime, is very precious.

The custom of carrying medicine and other small articles in inrō containers hung from the waist has died out with the decline of kimono. Still, even today inrō are beloved by connoisseurs, and collectors continue to seek out new and intriguing examples. In Kyoto, the inrō artist Uemura Enshū produces inrō from designs of works by the painter Morita Rieko. While carrying on tradition, he creates new works with an element of exoticism.