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.

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.)

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.)

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.