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An "stamp case" is a traditional Japanese case for holding small objects, suspended from the (sash) worn around the waist when wearing a kimono. They are often highly decorated with various materials such as lacquer and various techniques such as , and are more decorative than other Japanese lacquerware.
Because traditional Japanese dress lacked pockets, objects were often carried by hanging them from the in containers known as (a hanging object attached to a sash). Most were created for specialized contents, such as tobacco, pipes, writing brush and ink, but the type known as is suitable for carrying small things, and was created in the Sengoku period (1467–1615) as a portable identity seal and medicine container for travel.
In the middle of the Edo period (1603–1868), became popular as men's accessories, and wealthy merchants of the and samurai classes collected often beautifully decorated with lacquer. As the technique developed from the late Edo period to the Meiji period (1868–1912) and the artistic value of increased, were no longer used as an accessory and came to be regarded as an art object for collection.Masayuki Murata. 明治工芸入門 pp. 104–106. Me no Me, 2017 Yūji Yamashita. 明治の細密工芸 pp. 79–81. Heibonsha, 2014
The term is a combination of the kanji for in, which means a seal or stamp, and the kanji for rō, which means a basket.
are mostly made from paper, wood, metal, or ivory, with the most common material being paper. Paper are made by winding and hardening many layers of paper with lacquer; paper was a popular material for as unlike wood, it would not distort and crack over time.
are commonly decorated with lacquered designs, with the expensively produced featuring , , ivory inlay and metal foiling. Though and evolved out of a mostly decorative capacity, retained their functionality, having evolved from strictly utilitarian articles into objects of high art and immense craftsmanship.
For a period of time in the Edo period, was also used as a symbol of power. Today, among sumo referees (), only of the higher ranks are allowed to equip .
target="_blank" rel="nofollow"> 行司なくして大相撲は成り立たない！土俵支える裏方"行司"とは. NHK. July 5, 2019
Today, many are collected in the Metropolitan Museum of Art, the British Museum, and the Victoria and Albert Museum. Because were popular among foreign collectors, there were few of the highest quality made from the end of the Edo period to the Meiji period in Japan, but Masayuki Murata actively collected them from the 21st century, and today the Kiyomizu Sannenzaka Museum, Kiyomizu Sannenzaka Museum which he manages, houses many of the highest quality .
Today, are made by a few craftsmen. The best lacquer technique from the end of the Edo period to the Meiji period, especially the technique, was almost lost in the westernization of Japanese lifestyle. However, in 1985 lacquer craftsman 北村辰夫 set up his own studio 雲龍庵 and succeeded in recreating them. His lacquer works are collected in the Victoria and Albert Museum and the 21st Century Museum of Contemporary Art, Kanazawa, and are an object of collection for the world's wealthy.
target="_blank" rel="nofollow"> Unryuan Kitamura Tatsuo. Lesley Kehoe Galleries 21st Century Museum of Contemporary Art, Kanazawa
target="_blank" rel="nofollow"> 超絶の伝統工芸技術の復元から 世界ブランド構築へのマーケティングヒストリー Web Dentsu. September 5, 2016
target="_blank" rel="nofollow"> 雲龍庵とは何者ぞ！細部に宿る漆工の美 超絶技巧の全貌 雲龍庵と希龍舎. Nikkan Kogyo Shimbun. September 21, 2017 Nowadays, are rarely worn as kimono accessories, but there are collectors all over the world.
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