Kugikakushi came into widespread use in the 16th and 17th centuries. They were used to provide a decorative metal covering for the joints of the huge beams and posts of shrines and temples and also in the grand castles that were constructed for various daimyo (feudal lords). Nail head covers were usually cast in metal from molds, and the surface was then finished in varying techniques. Some of the decorative methods include engraving the design on the mold, which creates an embossed pattern on the metal; openwork; chiseling or engraving on the finished object; plating; lacquering and enameling. Decorative motifs for many centuries played a prominent role in both the religious and daily lives of the Japanese people. Architecture was embellished with these symbols, which were representative of both the tangibles of nature and the intangibles of the spirit. Birds, bats, turtles, bamboo and family crests were some of the popular subjects for nail head covers. (See examples of kugikakushi on page 181 of “Japanese Antiques” by Patricia Salmon.)

Japanese metalwork was a sophisticated and complex craft, and the metal artist was highly esteemed. When swords were banned in 1871 by government edict, many metal craftsmen were forced into new outlets, and so the minor metal arts flourished, with one example being kugikakushi. Rarely seen or found – particularly in pairs -- these unusual decorative nail head covers are interesting and lovely examples of early Japanese metalwork. They are sure to be conversation pieces.

Kugikakushi came into widespread use in the 16th and 17th centuries. They were used to provide a decorative metal covering for the joints of the huge beams and posts of shrines and temples and also in the grand castles that were constructed for various daimyo (feudal lords). Nail head covers were usually cast in metal from molds, and the surface was then finished in varying techniques. Some of the decorative methods include engraving the design on the mold, which creates an embossed pattern on the metal; openwork; chiseling or engraving on the finished object; plating; lacquering and enameling. Decorative motifs for many centuries played a prominent role in both the religious and daily lives of the Japanese people. Architecture was embellished with these symbols, which were representative of both the tangibles of nature and the intangibles of the spirit. Birds, bats, turtles, bamboo and family crests were some of the popular subjects for nail head covers. (See examples of kugikakushi on page 181 of “Japanese Antiques” by Patricia Salmon.)

Japanese metalwork was a sophisticated and complex craft, and the metal artist was highly esteemed. When swords were banned in 1871 by government edict, many metal craftsmen were forced into new outlets, and so the minor metal arts flourished, with one example being kugikakushi. Rarely seen or found – particularly in pairs -- these unusual decorative nail head covers are interesting and lovely examples of early Japanese metalwork. They are sure to be conversation pieces.

Kugikakushi came into widespread use in the 16th and 17th centuries. They were used to provide a decorative metal covering for the large exposed and unsightly nails used in the construction of shrines and temples and also in the grand castles that were built for various daimyo (feudal lords). Nail head covers were usually cast in metal from molds, and the surface was then finished in varying techniques. Some of the decorative methods include engraving the design on the mold, which creates an embossed pattern on the metal; openwork; chiseling or engraving on the finished object; plating; lacquering and enameling. Decorative motifs for many centuries played a prominent role in both the religious and daily lives of the Japanese people. Architecture was embellished with these symbols, which were representative of both the tangibles of nature and the intangibles of the spirit. Birds, bats, turtles, bamboo and family crests were some of the popular subjects for nail head covers. (See examples of kugikakushi on page 181 of “Japanese Antiques” by Patricia Salmon.)

This piece is a very good example of the decorative metal arts that propagated after the Meiji restoration era began in 1868. From this point in time, the samurai class was abolished and the Bushido or Way of the Warrior was put to an end. With this came the sword makers who were almost instantly out of work. With their generations of artistic skill at risk of being lost, they applied their talents to producing metal decorative arts such as this piece which is a prime example of the quality and craftsmanship that has since endured a tumultuous time in Japan's history. Rarely seen or found, these unusual decorative nail head covers are interesting and lovely examples of early Japanese metalwork. They are sure to be conversation pieces.

Incised on each ring is the popular deity Daruma, whose robes and eyes are gold. On the other side is the cheerful face of Okame, the goddess of mirth, whose hair is ornamented with what appears to be shakudo. Other incised gold symbols surround each ring, including a drum with a shakudo skin. The blue hinged cardboard box has a metal latch and a satin liner in which each ring sits.

Before the advent of electric lights in Japan, candles and linseed oil lanterns were used for light. Japanese candles were made of a vegetable wax, having a wick consisting of a roll of paper. The wick, being hollow, was fitted to the sharp metal spur or “pricket” about an inch long found at the top of the candle stand. The classic chrysanthemum design is very appealing and makes these candle stands a gorgeous decorative accent in any decor. These early kikuza-shokudai are becoming increasingly difficult to acquire.

This type of bulbous bronze flower vase was used by the Ikenobo school, which is the oldest school of Japanese flower arrangement (ikebana). Kyoto was the birthplace both of ikebana and of the bronze flower vessel, and scrolls dating from the second half of the 17th century show the first examples of this most characteristic of Japanese bronze forms, the so-called futabana (two-flower) vase. By 1698, the futabana seems to have become one of the most popular ikebana vase forms, with handles that predominantly included shishi, butterflies, dragons and hares. With the emergence of flower arrangement and the tea ceremony as distinctively Japanese cultural pursuits, bronze casters began to develop new and innovative forms of vessels loosely based on Chinese originals but with an unmistakable Japanese elegance. These culminated in large bronze vases cast in exaggerated form for the classic, formal rikka style of flower arrangement, prevalent in the 17th century and early 18th centuries. (A similar flower bronze is illustrated on Plate 47 in the sumptuous book entitled FLOWER BRONZES OF JAPAN by Joe Earle.)

The art nouveau era produced wonders in match-safes as countries around the world strove to supply the smoker with every conceivable figural conception. Japan, always quick to follow the West in copying and improving on new ideas, produced match-safes in wonderful forms. Mostly made of brass, Japanese cases were made in Eastern designs with unlimited artistic themes, all done in miniature detail with the most pleasing renditions and the highest quality craftsmanship. Match-safes were made to give the owner both visual and tactile pleasure as they fit comfortably into the hand. Cases were appealing to both men and women and were easily carried in the kimono sleeve. (See “The Oriental Match-Safe” by Earle J. Stone in ARTS OF ASIA September/October 1986.)

Kugikakushi came into widespread use in the 16th and 17th centuries. They were used to provide a decorative metal covering for the joints of the huge beams and posts of shrines and temples and also in the grand castles that were constructed for various daimyo (feudal lords). Nail head covers were usually cast in metal from molds, and the surface was then finished in varying techniques. Some of the decorative methods include engraving the design on the mold, which creates an embossed pattern on the metal; openwork; chiseling or engraving on the finished object; plating; lacquering and enameling. Decorative motifs for many centuries played a prominent role in both the religious and daily lives of the Japanese people. Architecture was embellished with these symbols, which were representative of both the tangibles of nature and the intangibles of the spirit. Birds, bats, turtles, bamboo and family crests were some of the popular subjects for nail head covers. (See examples of kugikakushi on page 181 of “Japanese Antiques” by Patricia Salmon.)