Momiji

This piece is an attempt to capture the unique state of Japanese autumn — its transparent stillness and solemn fragility — in lacquer. The manju netsuke “Momiji” is crafted in the ancient technique of carved lacquer Tsuishu (堆朱), which means “accumulated red.” Dozens of layers of urushi lacquer were applied one atop another, only to be carved through — like memory etched across layers of time.

This multilayered depth allowed the central idea to emerge: the netsuke, like a jewel, is wrapped in a kimono of crimson maple leaves. Resting upon it are two maple seeds, rendered in golden lacquer — a symbol of two lovers who found each other in the whirl of autumn foliage. They are two fleeting moments, suspended in eternity.

The entire scene evokes the feeling of Akibare (秋晴れ) — the crystal clarity of air that arrives during the “Cold Dew” season (Kanro). The shimmering silver particles are not mere decoration, but a reference to the pure dewdrops that settle on leaves in the early morning. They are nature’s breath — a final sigh before winter’s sleep.

This is my tribute to the tradition of Momiji-gari (紅葉狩り) — the quiet “hunt” for vanishing beauty. In Japan, they say that watching the maples is a way to learn how to let go. “Momiji” was covered with many red lacquer layers, carved, silver Hiramefun, the relief of the maple seeds was done in Takamaki-e, gold Marufun. 5.5 cm across. “Momiji” was exhibited in “Contemporary netsuke in private Russian collections” in the Oriental Museum in November 2017. The catalog of this exhibition is available. Russia, a private collection.