The Sauk Centre herald. (Sauk Centre, Stearns County, Minn.) 1886-current, 1905-03-30

shells; tishbOne, metal, porcelain,
onyx, amber, coral and crystal.
Wood was first used. The core of
the cherry tree was generally the wood
selected, and those made of wood are
more beautiful than those of ivory,
although collectors usually prefer
the latter. The wood is softer, more
subtle and less liable to splinter than
ivory which does not improve with
age as do those made of wood, which
harden and acquire rich, warm tones
from age. Ivories are subjected to
soaking in coffee and all sorts of
mixtures to make them assume an
antique appearance.
Those in the National Museum
in the Capron collection are all of
ivory. This collection was made by
Gen. Capron during long residence
in Japan. 1t was during the closing
scenes of a revolution which termi-
mated in the abolition of the feudal
system, and Daimios (barons) and
princes of the empire were forced to
offer for sale vast treasures in the way
of rare art productions, specimens of
which had been sacredly guarded for
ages.
Though not bearing many of the
names of the great Netsuke artists
those in this collection are extremely
interesting both for their execution
and the interesting legends to be read
from them.
Here we find a good likeness of
Hotel, the Japanese St. Nicholas, and
another of this favorite deity with
group of children around him. He
was one of the seven household gods.
He is famed for his fairness and his
love for children. He delighted in
playing with them, and he is here
depicted as sitting on the ground
with long staff in his right hand,
while in his left he holds huge
straw hat and close to him is his bag
which he is said to always carry with
him.
Another interesting netsuke carving
is OF Benton and her maid. Bengal
ten-nyo, or Benton, is the goddess of
love, beauty and wealth. She does
not appear to be looked upon like the
Aryan Venus, as the goddess of mere
physical beauty and sensual love, but
rather as the type of perfect woman
hood. An accomplished, staid and
motherly individual. She is generally
represented seated in contemplative
mood, running her fingers over
stringed instrument of her own inven-
ton. AS personification of the sea,
that fertile scource of food and wealth
of the Japanese, she is frequently
represented standing or sitting on the
sea-shore, playing some heavenly
melody to the waves accompaniment.
When she is depicted without the
instrument she carries in one hand a
key, and in the other the priceless
pearl, and is richly attired in a blue
mantle with sacred stole, and wears a
diadem.
She is worshipped as the fecund
principal of virtue and benefaction.
She is represented upon the netsuke
in this collection without the instru-
ment, and the maid seems to be
presenting the precious jewel so often
depicted in japanese art, and around
which so many legends have been
woven.
There is also an interesting netsuke
here of Daikoku with a dragon.
Daikoku was patron of wealth. The
Buddhists as we'll as those who believe
in the old religion of ancestor worship,
burn incense to him on this account.
1t is said that long time ago the
Buddhist idols took exception to this,
and determined to get rid of him.
They sent dragon to destroy him,
but Daikoku chung fast to his money
bags and only laughed at the dragon
and all efforts to destroy him.