Paulownia is a light, strong wood that has long been prized by Japanese craftsmen for making furniture. Although normally closely grained in a straight pattern, the kiri wood used in this hibachi has an exceptional swirling grain, and the surface has developed a rich patina over the years.

A te-aburi is a personal-size hand warmer, smaller than a conventional hibachi. The lower part of the warmer was filled with ash on which a few small, glowing pieces of charcoal were placed, thus heating the surrounding pottery walls. During the Meiji period, in homes where such luxuries could be afforded, custom demanded that whenever a visitor arrived in winter, the first act of hospitality would be to set a small personal warmer next to the guest to provide comfort in an otherwise unheated reception room. Te-aburi were made to be used by one of two persons at most.

Kamakura-bori is a type of Japanese lacquer ware which consists of carved wood decorated with layers of black and red lacquer which are often rubbed down and polished to achieve a mottled effect so the red lacquer shows through in certain places on the carving. It is said to have originated during the Kamakura period and was based on Chinese models. Of the various types of provincial lacquer wares, kamakura-bori is one of the most outstanding. From the beginning of the Meiji period, it was produced in great quantities, not only just in Kamakura proper. Its uncluttered beauty was much favored for eating and writing utensils as well as implements used in the tea ceremony. Because of the Japanese preference for “sabi” and “shibui,” the very simplicity and unaffectedness of kamakura-bori lacquer work makes it a special favorite among connoisseurs.

To Japanese women, hair ornaments were much more than mere accessories to feminine hair-do and attire. The comb progressed from a utilitarian object to a highly decorative one on which craftsmen and artists lavished their imagination and skill. In keeping with their inclination to beautify even ordinary items of everyday use, the Japanese turned hair ornaments into extraordinary artistic objects that mirrored the cultural and social history of the period. They reflected the life and status of their wearers, who were geisha, courtesans, ladies in the court and women in their homes. In their own small way, combs and hairpins provide a miniature glimpse of the exceptional beauty of Japanese art. (See the wonderful article “Combs and Hairpins” by Sharon Ziesnitz and Takeguchi Momoko in DARUMA 35, Summer 2002.)

To Japanese women, hair ornaments were much more than mere accessories to feminine hair-do and attire. The comb progressed from a utilitarian object to a highly decorative one on which craftsmen and artists lavished their imagination and skill. In keeping with their inclination to beautify even ordinary items of everyday use, the Japanese turned hair ornaments into extraordinary artistic objects that mirrored the cultural and social history of the period. They reflected the life and status of their wearers, who were geisha, courtesans, ladies in the court and women in their homes. In their own small way, combs and hairpins provide a miniature glimpse of the exceptional beauty of Japanese art. (See the wonderful article “Combs and Hairpins” by Sharon Ziesnitz and Takeguchi Momoko in DARUMA 35, Summer 2002.)

During a Shinto style wedding, the marriage is consecrated in the ritual of “san-san kudo,” where the bride and groom each drink from three sake cups three times. The families of the bride and groom would bring large containers of sake to the wedding ceremony in these black lacquered boxes. This style of lacquered wooded sake container, which is rectangular in shape with inset ends is called a sleeve cask because its shape is reminiscent of a Japanese kimono sleeve. Although sodedaru were originally made for ceremonial use by the higher classes, by the middle of the 19th century these rugged lacquer utensils were made for use by everyone.

During a Shinto style wedding, the marriage is consecrated in the ritual of “san-san kudo,” where the bride and groom each drink from three sake cups three times. The families of the bride and groom would bring sake to the wedding ceremony in a matched pair of large black lacquered boxes like these. This style of lacquered wooden sake container, which is rectangular in shape with inset ends, is called a sleeve cask because its shape is reminiscent of a Japanese kimono sleeve. Although sodedaru were originally made for ceremonial use by the higher classes, by the middle of the 19th century these rugged lacquer utensils were made for use by everyone.