This type of bulbous bronze flower vase was used by the Ikenobo school, 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 dragons, shishi, butterflies 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. With the re-opening of overseas contacts from the 1850’s, traditional styles were combined with the skills of the metal craftsmen and sword smiths in the manufacture of these magnificent showpieces, many of which were displayed at exhibitions in Europe and the United States. (See similar examples illustrated and discussed in the sumptuous book entitled FLOWER BRONZES OF JAPAN by Joe Earle.)

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.

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.)

Japanese metalwork, technically and artistically, has been unrivaled by that of other cultures for many centuries. In Kyoto, the Komai family was recognized for its fine decorative metalwork during the Meiji period. Made by a very difficult process of metalwork, Komai wares typically had a base of iron or steel which was decorated with minute bits of gold and/or silver and copper in exquisite detail. Their most successful products were generally small items such as this table screen. Also called damascene, high quality Komai wares are highly collectible.

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. With the re-opening of overseas contacts from the 1850’s, traditional styles were combined with the skills of the metal craftsmen and sword smiths in the manufacture of these magnificent showpieces, many of which were displayed at exhibitions in Europe and the United States. (See similar examples illustrated and discussed in the sumptuous book entitled FLOWER BRONZES OF JAPAN by Joe Earle.) This important Japanese flower bronze came from the estate of heiress Doris Duke, a passionate collector of Asian art. More than 200 pieces from her collection now reside in prominent museum collections.

Fancy kugikakushi such as these were usually decorated with various important or auspicious motifs. The petals of the karahana create flower diamonds, a popular motif known as “hanabishi.” The diamond category was one of the most popular of Japanese heraldic motifs. Alongside the diamond, one of the earliest known textile patterns in Japan was the “karahana” or “China flower,” and the natural melding of the two produced the four-petaled “flower diamond.” The alternative name of this motif, “karahanabishi,” makes the combination explicit.

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). Decorative nail head covers were usually cast in metal from molds, and the surface was then finished in varying techniques. So many metal alloys were used that it is difficult to determine the base metal of most kugikakushi. 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. These unusual decorative nail head covers are interesting and lovely examples of early Japanese metalwork which are sure to be conversation pieces.

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.