Japanese Ambassador to Nepal Masamichi Saigo has opened an exciting exhibition on “Contemporary Netsuke Wood-Carved Craft”. On display until the end of the month, these beautiful, miniature art pieces trace their history back to the Edo period (1603-1868). Initially these miniature pieces were more functional than aesthetic: used by men who, wearing traditional, pocket-less, Japanese attire, suspended their tobacco pouches, purses, writing implements, etc on a silk cord. This cord would pass behind the obe or sash.

The netsuke was then attached to the other end of the cord to prevent the cord from slipping. Somewhat like a toggle in modern clothing. Over time the netsuke developed from plain, functional items made of gourd or slices of ivory into elaborately worked miniature objects of great artistic value. Predominantly representing nature—plants and animals— and legendary heroes and mythical beasts, netsuke are also created to represent gods and religion as well as daily activities. Ambassador Saigo explained that at their height, netsuke became not just functional, but worn as we might wear jewellery today.

Invited to speak at the opening of the exhibition was award-winning Nepali artist Gopal Kalapremi. Having been sculpting since he was a child, Kalapremi today writes about ceramic and sculpture techniques, exhibits, and runs workshops and residencies in Nepal and abroad. He is also a lecturer at Kathmandu University’s Center for Art and Design as well as lecturing in universities in Pakistan. With this background Kalapremi was able to bring a touch of lighthearted understanding to the audience in his assessment of netsuke and in comparing it to Nepali items in their practicality.

 “Nepal has similar miniature art and both these and netsuke require four things: a high level of patience, dedication, skill and clear vision. A large piece of work makes us stand away from it in order to really see it as it is, and from here the art dominates us. On the other hand, miniature art draws us in, making us go inside it. I found these beautiful netsuke pieces like children. Each coming to me like a small child, inviting itself in due to its tiny size. These works, by drawing on nature and the environment, create a meditative and inspirational feeling,” Kalapremi said.

He went on to demonstrate a draw-string bag, available widely today in Nepal and used also in the past, to highlight how the netsuke and associated beads and cords worked. On the theme of the original, practical use of netsuke, Kalapremi reminded us that Nepali items such as the topi, today used more as a decorative or festive piece, was originally used, not only to keep off the sun, but also as a vessel to scoop up drinking water while travelling. With the Meiji Restoration (1868), and the age of ‘civilization and enlightenment’, Japanese clothing gradually was replaced by Western clothing, which had pockets. Netsuke was no longer a necessity. At that time also, the love of Japanese culture was waning in the country while everything Western was being embraced. This resulted in much art work, including netsuke, ending up with foreign collectors. In recent times, however, there has been a revival of interest in both traditional culture and art and this exhibition demonstrated this.

The exhibition contains 65 netsuke masterpieces from 46 artists and is currently on tour from the Japan Foundation. Prior to coming to Nepal the exhibition was staged in Mongolia and will head to Kazakhstan next. This is one in a series of exhibitions, theater, and music performances that the Embassy of Japan regularly brings to Nepal as part of the deepening of friendly relations and introducing Japanese culture to Nepali people. The exhibition is open to the public until January 31 at the Embassy of Japan, Panipokhari. Opening times: 9.30am-4.30pm. Admission free.