During the late 19th century, the museum collected a significant number of artefacts from the Asia-Pacific region. These acquisitions reflect the Western fashion for Japanese objects, linked to the Aesthetic movement and to the interest in wares displayed by non-European countries at international exhibitions throughout the world.

This object was collected by Julian Tenison-Woods (1832-1889), a geologist and spiritual adviser of the Blessed Mary MacKillop. In 1883 Woods visited the then Dutch and British colonies of Singapore, Malacca, Japan, Java and Siam on scientific and research purposes. During this time he collected a large amount of cultural material, much of which, including this object, was later acquired by the Museum.

Based on Japanese symbolism and mythology the praying mantis, kamakiri, is an emblem of courage and features regularly in Japanese artforms. This particular object is an okimono, or object for display. Okimonos were household ornaments which often became family heirlooms, characterised by a high level of detail and realism. They were often carved from ivory or made from bronze, and subject matter reflected Japanese mythology, nature or everyday life.

The fine detail and delicacy of this object is characteristic of Japanese okimonos. Its relation to Woods, a highly regarded figure within Australian Catholicism and the scientific community alike, gives this object added significances

REF:
Bilney, Elizabeth (ed), 'Decorative Arts and Design from the Powerhouse Museum', Powerhouse Publishing, 1991
MacKillop, Mary, 'Julian Tenison Woods: A Life', Harper Collins, Blackburn, 1997
Volker, T, The Animal in Far Eastern Art and especially in the art of the Japanese Netsuke with references to Chinese origins, traditions, legends, and art', E J Brill, Leiden, 1975

During the early 1600s Japanese rule banned nationals from either going abroad or returning home if already out of the country. Similarly foreigners, including missionaries and traders, were expelled from the country and banned from entering, leaving the country in relative isolation for a century and a half. This was largely due to fear of military conquests by European powers, along with the fear that outside ideas might upset social order and cultural traditions. This period, although isolating, allowed for an exploration of identity and culture and lead to productivity and refinement of Japanese artistic, social and religious heritage.

In July 1853 the US Navy entered the bay at Edo, demanding that Japan resume trade with the West, and eventually a number of treaties were signed allowing as much. Fifteen years later the shogun resigned, being replaced by the Emperor. In March 1876, during the Meiji period (1868-1912), the Hatôrei edict was passed, officially abolishing the samurai as a class and thus ending their privilege of carrying swords. As a result a large number of skilled swordsmiths and craftsmen were left without a regular source of income and began producing finely crafted objects such as jewellery and ornamental pieces.

Japan, having recently reopened to Western trade, held for such countries tremendous fascination. This period was particularly productive in terms of design and technical developments in Japanese art and items such as ceramics, cloisonné and bronzes became much sought after in the West. During this time the Museum endeavoured to build on its collection from this region, with major acquisitions coming from museum committee member Professor Archibald Liversidge in 1887 and from Father Julian Tenison-Woods (1832-1889), a geologist and spiritual adviser of the Blessed Mary MacKillop, in 1889-90. Unlike Liversidge, who collected with an intellectual eye, Woods' collection is exotica, souvenirs of 'celestial' difference from European standards.

REF:
Bilney, Elizabeth (ed), 'Decorative Arts and Design from the Powerhouse Museum', Powerhouse Publishing, 1991
MacKillop, Mary, 'Julian Tenison Woods: A Life', Harper Collins, Blackburn, 1997
Volker, T, The Animal in Far Eastern Art and especially in the art of the Japanese Netsuke with references to Chinese origins, traditions, legends, and art', E J Brill, Leiden, 1975

A bronze naturalistic 'okimono' (miniature sculpture) model of a praying mantis with a striated back and with arms raised in the air.

Made: Japan; 1880 - 1890

no marks

A84

1880 - 1890

50 mm

105 mm

20 mm