The most comprehensive book covering Japanese inro and netsuke this book an in-depth guide to Japanese miniature laquer art. Inro and Other Miniature Forms of Japanese Lacquer Art is designed both for the novice in Japanese lacquer art and for the advanced collector who specializes in such delightful forms of that art as the inro and the netsuke. For readers who desire a general acquaintance with the subject, there are absorbing chapters on the history of Japanese lacquer, on miniature lacquer forms and on the subject matter of lacquer art. For the collector, there is not only highly technical information on lacquer manufacture and techniques but also a comprehensive chapter on netsuke. Three other features of the book make it an invaluable one for collectors: Tthe biographical listing of more than 900 miniature-lacquer artists The genealogies of the outstanding lacquer schools The reproductions of 59 signatures of representative artists. Included are over 250 illustrations. All important miniature lacquer forms are represented. In addition, there is a well-selected and useful bibliography.

This is a comprehensive study of the inro, the small lacquer container used by Japanese men wearing traditional dress to carry items in daily use, drawing on the V&A's collection. Suspended from the belt by means of a netsuke and originally intended to hold a seal and ink or a supply of medicines, the inro gradually developed as a highly decorative dress accessory and became an object of high fashion, which is now prized by collectors. The majority of inro were made of lacquer, and include some of the finest and most innovative examples of the Japanese lacquerer's craft. The book traces the diverse origins of the inro from around 1600 until the early-20th century, and includes sections on construction and techniques of manufacture, on materials used, as well as on individual craftsmen, with photographs of their signatures. The sources of inro designs are explored, from paintings, ukiyoe prints and woodblock-printed books, with many examples illustrated. Methods of dating are also discussed, making this a useful reference for collectors and experts, while those with a general interest in Japanese art should be drawn to the craftsmanship of the individual pieces.

An in-depth examination of the Far Eastern lacquerware known as urushi, this book considers the art historical and scientific viewpoints and presents the priorities for urushi’s preservation and conservation. These are the proceedings of the Urushi Study Group meeting held in Japan.

For collectors who have discovered the delights of such miniature Japanese art forms as theinroand thenetsuke, this authoritative and enlightening book offers a wealth of valuable information. That it also affords entry to a world of fascinating design and superb craftsmanship goes without saying. In addition to illustrating in color and discussing in detail 108 distinguished inro and their accompanyingnetsuke, as well as 18 related miniature objects, it presents highly informative essays on the making ofinro, on pearl shell inlays, and, in particular on the materials and techniques of lacquer art, the last of these with 62 color photos. It also furnishes an extensive list of lacquer artists' signatures with 386 photos. It is refreshing to have an author tell his readers not only what his book is but also what it is not. In his introduction Bushell says: "This book is addressed to the collector ofinro, netsuke,and other forms of miniature Japanese art, with emphasis on works in lacquer. Its purpose is specific and limited. It is not a comprehensive study of lacquer. It is not a historical survey, a technical analysis, a comparative examination, or a compendium of terms and definitions. In point of time it is limited to the Tokugawa, Meiji, Taisho, and early Showa periods. In point of craft it is limited to the later development of precise and sophisticated techniques, with their brilliant decorative effects." Bushell points out that he is not making an unnecessary emotional appeal in praise of lacquer. His objective is far more practical. This book is the product of his efforts to understand the structure underlying the beauty of lacquer art and to provide clear and simple explanations. Because other books on the subject had not satisfied him, he undertook his own basic research, and here he presents the information he acquired through painstaking study with master lacquer craftsmen and other authorities.