This particular cosmetic box, part of the teeth-blackening kit, was used to hold “fushi-no-ko,” a powdered vegetable tannin used to dye teeth. Teeth blackening is probably the oldest type of Japanese make up, and it became an important social custom among women, intertwined with coming-of-age ceremonies or marriage. Many different types of cosmetic boxes were part of the elaborate bridal furnishings the Edo period daimyo bride brought to her new home to reflect the power and prestige of the daimyo or samurai family. Often made up of more than fifty pieces in all, complete cosmetic sets were commissioned for the trousseaux of high-born brides. (For similar examples of lacquer cosmetic boxes, see “Traditional Cosmetic Utensils” in DARUMA 25.)

About the middle of the sixteenth century, a new style of decorative finish was introduced that incorporated the texture of coarse cloth into lacquers. In this lacquered-cloth technique, which is also known as “pressed-cloth” or “red-cornered” lacquer, a fairly thin, coarse, grill-like cloth is covered with a thin layer of red lacquer, permitting the outlines of the material to be seen in slight relief. The material served two purposes. It reinforced the underlying wooden form and at the same time allowed the artist a contrasting color and texture to complement the smooth and elegant makie finish on the rest of surfaces. Lacquer boxes made in this style usually had four fairly large corner areas that revealed this undersurface, lacquered in cinnabar red. Hence this type of box came to be called “red-cornered” (“sumiaka”). This technique changed little for the next two hundred years and was usually reserved for large document boxes because their construction and finish were time-consuming and expensive. Because of the techniques involved, this style of lacquer is almost impossible to reproduce. (This unusual type of lacquer is described on page 142 and illustrated in Figure 43 in “Symbol & Substance in Japanese Lacquer: Lacquer Boxes from the Collection of Elaine Ehrenkranz” by Barbra Okada.)

CONDITION is remarkably good, considering the box’s age and fragility. There is some minor cracking in two of the corners of the cover and a few tiny dents and nicks, all of which is perfectly consistent with the condition in which these types of boxes are typically found in those rare instances when they do come on the market. A most impressive piece of early Japanese lacquer ware.

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.

Nuri guri is the technique of laying down and alternating dozens of layers of red and black lacquer and then carving through the layers in intricate geometric or curved patterns borrowed from the Chinese. The deep cuts are made at an angle so that the various layers of colored lacquer are revealed. It is a time consuming and painstaking process.

Incense (“ko”) was introduced into Japan along with Buddhism around the sixth century, and it has remained a part of religious ceremonies ever since. Incense also played an important role in the tea ceremony. After cleaning the rooms before the guests arrive, incense was used to purify the space spiritually and help separate it from secular space. The incense was kept in small containers and conveyed with chopsticks into the fire in the brazier. The uncluttered beauty of nuri guri incense containers was favored by the Japanese for use with the tea ceremony ritual.

Kamakura-bori is a type of Japanese lacquer ware in which wood is carved in relief and then usually covered with many layers of black lacquer, followed by layers of red lacquer, which are then rubbed down, revealing the subtle color underneath. Kamakura-bori was invented to resemble the more difficult and time-consuming Chinese lacquer-carving technique known as cinnabar style or “tsuishu.” Chinese lacquer incense containers were popular in Japan since the 12th century. Skilled Japanese craftsmen were soon able to equal and surpass Chinese examples. The uncluttered beauty of this type of carved lacquer incense container was favored by the Japanese for use with the tea ceremony ritual. Because of the Japanese preference for “sabi” and “shibui,” the very simplicity and unaffectedness of kamakura-bori lacquer works make them special favorites among connoisseurs.

The chrysanthemum (“kiku”) is probably the most frequently represented flower in all of Japanese art, affording the artist an opportunity to display his skill through his portrayal of its graceful form. A symbol of superior character, the light of the sun, long life and virtue, the chrysanthemum has been respected since ancient times and long been revered for its beauty and elegance. The sixteen-petaled chrysanthemum forms the crest of Japan’s imperial household.