What exactly is a netsuke?

[zhangshilong]

Hello everyone. I'm new to this forum and have browsed through some posts. I'd like to share my personal thoughts here and discuss them with you all.

Hello everyone. I’ve been wondering: what truly defines a genuine netsuke in everyone’s eyes? I’ve noticed some people argue that only bone carvings, wood carvings and similar craftworks produced during certain periods of Japanese history qualify as authentic netsuke — for instance, works from the Edo period.

The Japanese Edo period roughly spanned the late Ming Dynasty to the early Qing Dynasty in China. During that era, China also had craftworks comparable to Japanese netsuke. Common examples included pendants hanging from scholars’ folding fans, ornaments worn on garments and waistbands, and handheld curios for daily appreciation. These pieces were widely seen in ordinary life, and crafted from nearly identical materials as Japanese netsuke, such as boxwood, ivory and animal bone. Quite a number of these Chinese carvings were even exported to Japan back then.

So what exactly is a true netsuke? Must it be a piece crafted by a Japanese carver in Japan during a specific historical period? If a carving was made by a Chinese artisan in the Ming Dynasty and later exported to Japan during Japan’s Edo period, should it be recognized as a netsuke? Do collectors cherish and pursue netsuke merely for the physical artwork itself?

I personally believe the answer is no. When people collect antique artworks, their value lies primarily in the history and culture they carry. Through these small artifacts, we can catch a glimpse of people’s lives in bygone eras, and share the joy of admiring and handling the same piece across time and space. From this perspective, once we trace an artifact’s origin, we can learn about the history and culture of Japan, China, or other regions of that age.

Are modern netsuke creations worthless? I do not think so. Setting aside deliberate imitations and counterfeits, contemporary works infused with modern perspectives and interpretations objectively reflect stark differences from antique netsuke in terms of era, culture, ideology and artistic expression. Vintage netsuke possess their timeless charm, while modern pieces boast unique appeal of their own.

These are just my personal views on netsuke as an art form. I welcome all of you to share your thoughts and join in the discussion.

[zhangshilong]

Undeniably, I am a craftsman from China who carves netsuke, yet I prefer to call myself a bone carver. My master has been creating bone carvings for decades, and people of his generation knew nothing about the concept of netsuke.

I’d like to share a small piece of my work here. The main body is the skull of an ancient Homo sapiens. An umbilical cord extends from the eye socket of the skull and connects to a modern infant lying sound asleep atop it.

The piece carries profound symbolism: the protection of ancestors and the dawn of new life. It depicts an encounter and reincarnation spanning millions of years. Generation after generation, humanity thrives and moves forward through the cycle of life.

[John C]

30 minutes ago, zhangshilong said:

So what exactly is a true netsuke? Must it be a piece crafted by a Japanese carver in Japan during a specific historical period? If a carving was made by a Chinese artisan in the Ming Dynasty and later exported to Japan during Japan’s Edo period, should it be recognized as a netsuke? Do collectors cherish and pursue netsuke merely for the physical artwork itself?

Helo Zhangshilong:

I'm no expert. But since the answers to the questions are both objective and subjective, I'll offer my opinion. What is a true netsuke? Objectively, a netsuke is an ornamental device that attaches to a cord for the purpose of holding another object to an obi or belt. With that definition, it can be literally anything. Subjectively, netsuke represent an art form. And like all art, it's beauty is in the eye of the beholder. When I think of netsuke as a collector, I picture an historical object. I also tend to confine my collection to those objects made in Japan, since I collect Japanese items.

This isn't to say that those items made elsewhere are not artistic, or not valuable, or not of high quality. I just prefer to collect those made in Japan and are at least 100 years old (how we define an antique).

I think the reason for my collecting preferences are because of established provenance. Modern art, in any form, doesn't usually carry the value or prestige of older art because the artists are not yet established as "masters" of their craft. Some probaby are - and will be designated as such in the future. But for me, modern pieces do not have the same attraction as those that are antiques.

I'm sure others will disagree, however I wanted to give just one collector's perspective.

 

John C.

约翰 C.

[Brian]

Have to mention, that is stunning craftmanship!

[zhangshilong]

10 hours ago, John C said:

张世龙你好：

我不是专家。但由于问题的答案既客观又主观，我将提出我的意见。什么是真正的根付？客观地说，根付是一种装饰装置，系在绳子上，用于将另一个物体固定在腰带或腰带上。根据这个定义，它实际上可以是任何东西。从主观上看，悬坠代表了一种艺术形式。和所有艺术一样，它的美在于情人眼中。当我将根付视为集电极，我描绘了一个历史物体。我也倾向于将我的收藏限制在日本制造的物品，因为我收集日本物品。

这并不是说其他地方制造的物品不具有艺术性、不有价值或质量不高。我只是更喜欢收集那些日本制造的、至少有 100 年历史的东西（我们如何定义古董）。

我认为我的收藏偏好是因为既定的出处。任何形式的现代艺术通常都不具备旧艺术的价值或声望，因为艺术家尚未成为其工艺的“大师”。有些可能是并且将来也会被指定为这样。但对我来说，现代作品并不像古董那样具有吸引力。

我确信其他人会不同意，但我只想给出一位收藏家的观点。

 

约翰·C.

约翰 C.

That's true. Collectors have different preferences for both modern art crafts and ancient antiques, and there is no right or wrong in this regard. The value of antiques lies not only in the items themselves, but also in the history they embody. Thank you for your reply, John.

[Bugyotsuji]

There are various facets to Netsuke, and everyone’s approach is different.
 

Also we must remember that a genius is a genius, in every age, even in our present day. 

[PietroParis]

Since the question "what exactly is a netsuke?" is a recurrent one in collectors' forums, here are my two cents.

 

First of all, I agree that we should not get fixated on the name. The Japanese use 根付 even for mass-produced keyrings, and who am I to tell them they are wrong? 

 

 

The question might thus become "what is a collectible netsuke?", but yet again people should be free to collect whatever they like (within some bounds, e.g. for what concerns poached ivory). However, they should be aware of what they are collecting, so that they don't end up overpaying for modern trinkets, and they don't inflict them on those who prefer antique and/or artistic items. 

 

To "mainstream" experienced collectors, antique pieces are always of some interest - regardless of the artistic quality, which might vary a lot - as a manifestation of a bygone age and culture. From that point of view it is understandable that collectors of Japanese stuff might be less interested in antique Chinese artifacts, as they are less able to place them in the proper context. It is true that Chinese toggles were often repurposed as netsuke in Japan, especially in earlier times, but I am under the impression that Japanese netsuke art evolved to a much higher level of sophistication. However, that might be just due to my ignorance of the Chinese side. For the record, I have this toggle which may or may not have been converted into a netsuke. I read in an article by a Western collector that the subject is a kind of pun, since in Chinese "crazy monkey holding a peach" (feng hou pao shou) is homophone to something like "may you advance in rank and live long". Maybe Zhangshilong can confirm this theory?

 

Finally to the question of antique vs modern: netsuke by contemporary artists are certainly considered collectible. The good ones can fetch prices that are generally higher than entry-level antiques, and the geographical origin of the carver is not a factor. However, absent the connection with a bygone age and culture, what matters for contemporary netsuke is the artistic quality, which is not just technical skill but also originality in the conception. Whenever I am accused of prejudice against contemporary carvings by someone who didn't like being told that granpa's treasure is in fact a mass-produced souvenir, I point them to this catalogue:

https://library.orientmuseum.ru/images/pdf/Sovr_Netsuke_2017.pdf

 

 

Edited May 27 by PietroParis

[Bugyotsuji]

Fascinating catalogue, Pietro. Thank you.

Interestingly, no dates or materials are shown for these wonderful, indeed genius pieces, many of them contemporary, helping us to transcend artificial concepts of time. ( Some lovely creations by Clive, but none by Natasha though?)

 

Personally speaking, I collect Netsuke from an 'innocent' cultural time, preferably before the end of the Edo period, made for and by Japanese with no consciousness of Western eyes. Since I do not have the cash resources for top-end works, I look for unusual pebbles on the beach, i.e. naive Netsuke gems that rarely but occasionally bubble up in antique shops or street markets. 

[PietroParis]

There are three netsuke by Natasha Popova on page 70.

[Bugyotsuji]

On 6/3/2026 at 5:22 AM, PietroParis said:

There are three netsuke by Natasha Popova on page 70.

Thanks Pietro, I missed those. Not some of her best work though, IMHO.

[The Blacksmith]

Is the catlogue still uploaded, all I get is a blank page.

 

I love netsuke, but have only ever owned a couple of them.  In the British Museum in London is a fabulous example. As I recall it is either a walnut or peach stone, carved in wood, and inside the nut/stone are two men playing Go. It is fabulous!

[John C]

2 hours ago, The Blacksmith said:

I love netsuke, but have only ever owned a couple of them.

I had to laugh, Russ. At least you have owned a couple of them! I love them as well and have never even seen a real figural one, much less owned a figural one. Probably couldn't afford it if I did come across one.

So I am relegated to collecting obi-hasami netsuke. I think you are lucky for at least having had a couple.

 

John C.

[The Blacksmith]

@John C  This was many years ago. I bought them from Michael Dean at Nihon Token, which was a shop just by the British Museum. I often used to pop in to see Michael, being interested in Japan as I am.  They were admittedly lesser quality ones. IIRC they were about the £100 to £129 each range, though Mike had netsuke that were in the £1000's even then, and this was back in the early 80's! Funny enough, the last time that I met Mike was in Islington, and he was in a  shop in the Mall, looking at netsuke!

To put the price into perspective, at that time you could buy a good Shin-Gunto katana for about £175-£200. I did buy two from Mike, an absolutely stunning Asano kanezane in shin-Gunto mounts, and a Nambokucho tachi, again in Shin-Gunto mounts. The Kanezane was possibly the most beautiful blade I have ever owned, that cost £250, and I really wish that I had kept it. The o suriage tachi was £400.

Nihon Token was a little oasis and I used to love going there.

[PietroParis]

Russ: the link works for me; there are at least four version of the go players in a fruit in the BM collection, which one is your favorite?

 

 https://www.britishmuseum.org/collection/search?keyword=netsuke&keyword=go&view=grid&sort=object_name__asc&page=1

 

John C.: decent figural netsuke can be bought already for a few-hundred $/£/€ when one knows what he/she is doing, the problem is distinguishing them from the 99% of modern fakes.

[John C]

2 hours ago, PietroParis said:

distinguishing them

I'm getting better. But still not confident enough to pull the trigger on one. I take a pessimistic view and assume everything is a fake, so not sure I will ever get one.

 

John C.

[Bugyotsuji]

1 hour ago, John C said:

I'm getting better. But still not confident enough to pull the trigger on one. I take a pessimistic view and assume everything is a fake, so not sure I will ever get one.

 

John C.

John, check out one of the meetings of the International Netsuke Society, California branch, handle a few there, and shoot the bull with them. They will be welcoming, friendly and helpful. Also, visiting museums and leafing through netsuke collection books will really help.

(Absolutely no need to buy right away!)

[watsonmil]

I have owned many Netsuke over the years,  mostly in Ivory but now with the ban on Ivory of any kind and due to the fact I am getting too old to collect anything but my old age pension,  I have bowed out.    I hesitate to add that the Ban on Ivory came about because of people in China like Mr. Zhangshilong who carve what can only be called pseudo netsuke.  The Chinese have been carving TOGGLES since at least 1280 AD long before the appearance in Japan of Netsuke.  The Japanese needed some way to fasten their Tobacco Pouches to their body and since the Kimono has no pockets,  the only logical choice was to fasten it to the Kimono Belt ( Obi ) by passing a cord from the tobacco pouch with some object fastened to the cord to have enough mass and weight to hold the tobacco pouch securely in place.  The first Netsuke were no doubt small sticks,  which later were carved to give the stick some artistic merit which was pleasing to the eye.  This object we call a netsuke derived as a direct consequence of the introduction of tobacco into Japanese Society.  Later Scholars fastened their ink and brushes to the Obi and the Ink container became the Netsuke and the Writing Brush became the tobacco pouch so to speak. 

The reason collectors shy away from buying Netsuke is that the Chinese began flooding the market due to there being many fine Carvers of wood and IVORY in China and wages in China lagged behind the rest of the World.  When the wealthy SNOBBISH American and equally snobbish Europeans found a new trinket to add to their collecting ADDICTION and when one sees that Sotheby's or Christies Auction Houses but to name only a couple often sell Netsuke that fetch bids in the thousands of dollars and I've seen a couple of Netsuke sell for over $ 100,000.00.  This is a one up man ship that only multi millionaires can indulge in.   Don't tell me this is for the love of ART, ... this is pure showoff !   I collect ONLY Edo Period Netsuke and only from Internationally respected dealers.    It matters little that my preference is IVORY,  as there are equally fine carvings in Wood and other materials.  I simply enjoy the medium  ( material ).   There are many very talented modern carvers,  but they do not fit the criteria of having been used for the purpose they were designed for and I therefore correctly call them pseudo netsuke.

[watsonmil]

I should have added that I have owned a couple of Chinese Toggles over the years.  I found them very utilitarian with little for me at least to call ART.  There is an excellent book on the subject for those interested :   SUBSTANCE AND SYMBOL IN CHINESE TOGGLES by Schuyler Cammann   published by The Trustees of the University of Pennsylvania,  Library of Congress Catalog Number  62-7202

[Bugyotsuji]

Ron, good to see you commenting here, and you touch on some excellent points. I have a few of those Chinese toggles too, interesting in their own right.

 

I have never been able to compete with those millionaire collectors, but by biding my time I have managed nevertheless to find many intriguing, perhaps exceptions to mainline 'Western collector' rules, i.e. 'genuine' (made and used for purpose within the generally accepted time frame) netsuke. Also I have some examples of those 'sticks' that you mention, plus earthen fishing weights and holed stones, fangs and bones that also must have seen early or rudimentary use.

[watsonmil]

    I still have a few favorite Netsuke which I simply cannot part with.  One is the Rat Catcher.  These were quite often for lack of a better term IDIOTS, often hunch back.  The one I have in Ivory is quite humorous in that he forgot to completely fasten his loin cloth and consequently his testicles are hanging out.   Another is Ebisu,  the Japanese God of fishermen.  He too is in Ivory with so much detail that even his feet leave the correct anatomical footprints when pushed into plasticine.  The carver was so talented he even undercut the eyelids.

    People used to ask me,  How do you tell a Netsuke is of good quality and I used to say if he looks ready to get up and walk from the palm of your hand he is most certainly genuine.  If a Netsuke of a Crane appears to be ready to spring from the water and fly away, ... it is genuine.   One other point I should like to make is that on older genuine netsuke one of the cord holes is often much larger in order to conceal the cord knot.   On a genuine netsuke are no sharp edges to catch on the silk kimono. 

Edited Wednesday at 05:56 AM by watsonmil

[Matsunoki]

5 hours ago, watsonmil said:

When the wealthy SNOBBISH American and equally snobbish Europeans found a new trinket to add to their collecting ADDICTION and when one sees that Sotheby's or Christies Auction Houses but to name only a couple often sell Netsuke that fetch bids in the thousands of dollars and I've seen a couple of Netsuke sell for over $ 100,000.00.  This is a one up man ship that only multi millionaires can indulge in.   Don't tell me this is for the love of ART, ... this is pure showoff ! 

This sounds like a healthy dose of “sour grapes”….and it is misplaced. 

 

5 hours ago, watsonmil said:

!   I collect ONLY Edo Period Netsuke and only from Internationally respected dealers.    I

That sounds a bit “show off” to me. Erm…..
 

There has always been and will always be wealthy people who love Art in its diverse forms.

Many of the worlds great collections….swords….netsuke….whatever have been assembled by these patrons of the Arts who have ensured that these masterworks are recognised, recorded, protected and conserved for future generations. 
The netsuke market is not governed by snobbishness, it is governed by the usual rules of supply and demand.

In my experience, the buyers of high end Japanese Art are truly passionate about the subject and are prepared to go to whatever it takes to acquire a treasure. The fact that pieces do sell for big money is just evidence that there is a strong demand pitched against a limited supply.

[watsonmil]

Colin,

   You don't know me very well Sir.   The  " sour grapes "  comment actually made me smile.  I began collecting Netsuke in the late 1970's when there were few collectors,  Virtually all of us corresponded by postal mail rather than via email.   I and most of the the others I knew were struggling to raise families and to simply put food on the table.   I've seen a huge difference in the way collecting has gone from pure joy of being able to acquire genuine pieces to the trepidation of the average enthusiast being able to acquire even modest works due to the FEAR of being sold FAKES. 

   Your second criticism of me being  " A SHOW OFF " because I stated,  " I ONLY collect Edo Period Netsuke and only from Internationally respected dealers "  simply shows my PREFERENCE for historically used items from their country of origin ... Japan.   When I see the market filled with resin copies or wooden copies ( most often made in China and artificially aged to fool the novice or even average collector,  I think it only WISE to buy from REPUTABLE DEALERS !   I see NO " Show Off in my character only CAUTION.    I saw nothing in my post to draw the ire of any reader, ... but as I somehow pissed you off,  I would apologize if I thought any of my statements in that post were offensive or untrue,  but I was simply voicing my opinion.

... Ron

Edited Wednesday at 02:48 PM by watsonmil

[Matsunoki]

32 minutes ago, watsonmil said:

I saw nothing in my post to draw the ire of any reader,

 

14 hours ago, watsonmil said:

When the wealthy SNOBBISH American and equally snobbish Europeans found a new trinket to add to their collecting ADDICTION and when one sees that Sotheby's or Christies Auction Houses but to name only a couple often sell Netsuke that fetch bids in the thousands of dollars and I've seen a couple of Netsuke sell for over $ 100,000.00.  This is a one up man ship that only multi millionaires can indulge in.   Don't tell me this is for the love of ART, ... this is pure showoff !

I suggest you re-read the above paragraph then. Inferring that serious wealthy collectors view netsuke as “trinkets” and in CAPITALS you call wealthy collectors (USA and European) SNOBBISH  and that they have an ADDICTION then yes you have pissed me off because you are wrong on all counts. The ones I have dealt with are genuine passionate collectors who love the subject, who have studied it and developed a depth of knowledge that enables them to recognise good pieces and are lucky enough to have the funds to acquire them…..and who genuinely cherish them. They understand all the history behind the items, all the quirky and puzzling subjects, they recognise the difference between average, good and magnificent. They have put the time in. The pieces are safe in their hands.
Granted, trophy hunters absolutely do exist…..they will buy anything that is the finest example of anything, cars, medals, paintings etc but there is no need to make sweeping unfounded statements about collectors who happen to be wealthy. 
 

Yes the world has changed from “the good old days” and with it so has collecting anything. It’s just a fact of life.

Yes the  market is full of fakes from several corners of the planet but that is also common in most sectors of the art market . The way to deal with that is to learn the subject……that requires time and dedication……serious study…if new or inexperienced collectors are not prepared to do that then they can only blame themselves if they buy fakes. Tough but that’s the truth.

[watsonmil]

Well Colin,  then stay " pissed off ",  I could care less.  I stand by what I wrote in my post.  It is an OPINION,  nothing more.   You have your opinions and I have mine.   To back up my statement of SNOBBERY,  I point to :   The International Netsuke Collectors Society.  Membership fees are $ 125.00 US per year.  In the copy of their magazine which I have :  Volume 11, No. 4 dated March 1984 pictured on page 24 :  An Exhibition of THE NETSUKE HALL OF FAME'S RECORD BREAKERS annual meeting with photographs of attendees all quite obviously very very wealthy people.  A Suit and Tie affair drinking Champagne, the festivities taking place at the  " elegant new Mauna Lani Bay Hotel on the big island of Hawaii ".   Just to rub their wealth in a little they included a photograph of a much poorer couple dressed in not a gown,  but a plain dress,  the gentleman with a String Tie and white shirt with the caption, " enjoying a reprieve from their home in the ARTIC REGION ".  I looked up membership in this exclusive club and the total number of members worldwide is just over 600 members.   I suggest that the average Netsuke Collector today is hard pressed to find the $ 125.00 US for membership,  considering membership in The Nihonto Message Board is FREE !    

[Matsunoki]

 Wow, that  really is sour grapes.

There have always been and there will always be wealthy people who can buy things that others cannot. 
Provided they came by their wealth by legitimate means then good for them.

What is wrong with an exhibition of valuable things? It’s a factual exhibition.

It’s no different to some of the wonderful world shows and events celebrating the finest swords and other Japanese (or wider) Arts. There you will see swords with telephone number prices that only the wealthy can afford. 
ARE YOU SAYING THAT THESE WEALTHY SWORD COLLECTORS ARE ALSO SNOBS?

The only difference is the commodity in question.

Live and let live.

 

[John C]

49 minutes ago, Matsunoki said:

What is wrong with an exhibition of valuable things?

Hey Colin: I'm not arguing the point just want to offer a definition. In sociology circles, we call this "conspicuous consumption." The goal of the rich here is, not to own and admire an artistic object, but rather to display their wealth to the rest of the "proletariate" as they see us. 

John C.

[watsonmil]

Colin,  Yes indeed I am.  We could go on with this tit for tat all day,  week,  month,  year.  You have your opinion and I have mine.  Now why don't we leave it at that !   I have been fortunate to visit shows / dealers in the USA,  Europe,  the UK.  Gray's in London,  Camden Passage,  Bermondsey,  and I was always treated with respect and my opinion / opinions accepted.  Yet here on the NMB,  I find my opinion not debated but viciously attacked by one individual who does not even know me.   Discuss, criticize all you want,  but I will no longer feed your hatred by debating this post with you.  Have a nice day.   

[Matsunoki]

Hate? Seriously?

I simply disagree with what you said and explained my reasons.

If you think that constitutes hatred you are very very mistaken.

Anyway, whatever. 

Live and let live.

 

 

 

[Bugyotsuji]

Euronetsuké membership which included Rosemary Bandini’s gorgeous quarterlies was around £20 a year which I found more affordable.

I thought the INS was $175, but maybe I am mistaken. Since their website went wobbly a few years back I have generally lost touch and given up. Regrettably I was never able to fly to attend one of their magnificent international conventions.

 

i find it a struggle to pay for yearly membership of the NBTHK, and the NKBKHK (JAS armour society) on top. Luckily the UK Token Society’s yearly fee is more reasonable.

 

John C was asking what a genuine netsuke might be, and I was suggesting going along to a meeting where good pieces are passed around for hands-on appreciation. That way one can develop an ‘eye’.

Having said that, there are still many pristine netsuke out there that look like they were made yesterday. Could they really be 200 +/- years old? Unable to make a definitive judgement in such cases, I will quietly avoid (commenting upon or buying) those. Don’t want to offend any owners!

[John C]

21 hours ago, watsonmil said:

TOGGLES

Ronald:

I've heard of toggles, however never studied them. Are there any key indicators of the differences between toggles and netsuke? I have seen some toggles online but cannot tell the difference straight away.  

John C.