Room 11

Lacquerware 漆器

Drawer 1


Techniques of inlay using minute pieces of very fine mother-of-pearl, frequently seen in the Ryûkyû islands, were also adopted by the Somada 杣田 family, in Toyama 富山, on the north coast of Honshû. In this type of decoration, the design is built up in a mosaic-like manner, creating a contrast between the shiny, jet-black ground, and the coloured reflections of the shell and gold leaf.

  1. Inrô, Somada style 杣田風印籠

    Mother-of-pearl and gold leaf inlay 蒔絵金箔螺鈿象嵌

    Chinese Taoist immortal 仙人図

    Unsigned 無銘

    19th century 江戸末期~明治初期


  2. Incense box (kôgô) 香合

    Mother-of-pearl inlay 蒔絵螺鈿

    Geometric designs and scrolls 市松花唐草図

    Unsigned 無銘

    19th century江戸末期~明治初期

  3. Inrô, Somada style 杣田風印籠

    Mother-of-pearl and gold leaf inlay 金箔絵螺鈿

    Phoenix and paulownia 鳳凰桐図

    Unsigned 無銘

    19th century 江戸末期~明治初期


  4. Pipe case (kiseruzutsu) 煙管筒

    Mother-of-pearl inlay 蒔絵螺鈿

    Ode to the Red Cliffs, poem by Su Dongpo (So Tôbo, 1037-1101) 蘇東坡の赤壁賦

    Signed “Yôkei” with seal 銘  楊渓 (印)

    Dated autumn 1923 大正壬戌之秋 (1923)


    A very different form of decoration was developed in the 19th century by the Shibayama 芝山 family, in Edo 江戸. The Shibayama style is characterised by the use of mixed inlay (ivory, mother-of-pearl, tortoise shell, coral, or metal), with elements often finely incised in relief.
  5. Inrô with ojime and netsuke 印籠、織締と根付

    Shibayama style 芝山風

    Takamaki-e and inlay 高蒔絵各種象嵌

    Seagulls and cherry blossom 鴎桜図

    Signed “Kakôsai” 銘  可交斎

    Late 19th century 江戸末期~明治初期

  6. Inrô, Shibayama style 芝山風印籠

    Takamaki-e and inlay 高蒔絵各種象嵌

    Parrot and magnolia 木蘭鸚鵡図

    Signed “Masakuni” 銘  政國

    Second half 19th century 明治初期

  7. Inrô, Shibayama style 芝山風印籠

    Polychrome takamaki-e and inlay 高蒔絵各種象嵌

    Peacock, cherry and peony 孔雀桜牡丹図 

    Signed “Jô-ô” with kaô 銘  常翁 (花押)

    Second half 19th century 明治初期