A particularly fine and unusual Japanese tsuishu incense box (Kōgō) – Edo period

Description

A finely carved Japanese tsuishu incense box (Kōgō) of diamond form and depicting an unusual image of a woman and a child (holding a bowl), next to a young recumbent elephant. Of rhombus form and carved from deep vermilion lacquer. Stylized fretwork along the sides, the base in a rich black, the interior in mottled shades of brown.

Tsuishu (堆朱), meaning “piled or stacked-up red,” refers to layers of vermillion lacquer carved in elaborate designs. In order to achieve a thickness capable of being carved, tsuishu may require anywhere from dozens to hundreds of coats of polished lacquer applied gradually and methodically, over a wooden or other base. Each layer must cure (ie harden) for several days and be lightly polished before the next layer can be applied; a very slow and time-consuming process. These layers of lacquer can be clearly seen up close on this box.

According to some scholar’s estimates, the tsuishu technique was transmitted from China into Japan, during the 14th century. This occurred through both trade activity of various goods and via the introduction of Zen Buddhism and its associated ritual and ceremonial objects. With many of these items initially making their way into the inventories of Japanese temples, it is therefore no surprise that its early associations were primarily with Zen. By the 15th century however, during the reign of Ashikaga Yoshimasa (1443–1474) Japanese lacquer masters like the famed Kyoto artisan Monnyū (approx. 1467-1487) were proficiently making imitations and working closely in the Chinese tradition. The items they produced were practically indistinguishable from Chinese works. Simultaneously, large quantities of carved lacquers from China continued to be imported as demand for tsuishu was strong and items were highly sought after by collectors.

This continued into the Edo period (1603-1868) and tsuishu lacquer masters worked for the shōgunate as tsuishu became even more widespread. Historical records mentioned famed masters like Tsuishu Yosei (approx. 1654) who inspiring subsequent generations of artisans to take on his name.  By the 19th century the artform achieved a particular unique Japanese style and rose to prominence as exemplified in the works of master craftsmen like Zokoku Tamakaji (1806-1869).

The imagery of the elephant on this box is an intriguing one. Since prehistory, wild elephants have not existed in Japan and the first elephants to arrive in country was not until the Muromachi period, gifted from Spain in 1597 and again during the Edo period in 1728 by a Chinese merchant.  Elephants seemed like imaginary animals to the people of Japan, manifested in creatures like the baku (獏), a mythical creature introduced from China with the trunk of an elephant, the tail of an ox and the paws of a tiger. Elephants were seen as strange and exotic creatures as can be seen from Japanese woodblock prints.  And yet elephants as icons were indeed known to lacquer masters who often derived their works from Chinese imagery and while utilizing Buddhist literature and iconography. There is also the story of Eguchi no Kimi although the addition of the boy seems not to fit.  For now, however, the origins of the elephant on this box remain a pleasant mystery.

A note on the designation of Karamono (唐物) which literally means “Tang items.” Initially this term referred to items from China, typically items of high status and artistic merit such as paintings, calligraphies, incense burners, relics, lacquerware, porcelain and various other precious objects. Over time the term expanded to include items from places like Korea and other regions, or eventually even items made in the “foreign style.” Karamono items were highly praised and collected as status symbols. There were carefully preserved, often with unique perfectly made boxes to be passed down and protected through subsequent generations.

Size (cm): 9 x 5.5 x 2.5
Box size (cm): 13 x 8 x 5