Korean nacre lacquer wares are believed to have originated in the third century. Lacquer is a resin made from highly toxic saps of lacquer trees, which are widely found across the Korean Peninsula. It is difficult to work with, as it does not dry in a normal atmosphere, but requires a special room with extremely high humidity. When applied to wood, lacquer is remarkably resistant to water, acid and heat. When dried naturally, lacquer is usually black or dark brown.

The Korean word "najeon chilgi" literally means "a lacquer ware decorated with mother-of-pearl," which is also called nacre. Nacre lacquer wares usually required eight to 12 coats. Each coating took at least 24 hours to dry completely under consistent humidity and temperature. Time-consuming surface decoration was all done by hand, usually taking months for completion of a single piece. Mother-of-pearl came from the inside surface of the abalone or conch shell, and the abalones produced in the clean and warm waters off Korea’s eastern coast were claimed to be the best in terms of quality and color.

During the Choson dynasty (1392-1910), lacquer was used predominantly on boxes and furniture for domestic use by the aristocracy. The finest Korean lacquer wares made rich use of mother-of-pearl inlays, giving an impression of great sumptuousness and luxury. The sophisticated craftsmanship of Korean lacquer wares has long been admired and sought after by collectors and aficionados worldwide.

CONDITION is excellent. This box is in remarkably well-preserved condition given the fragility of its materials. There are no losses to the lacquer or mother-of-pearl inlay.

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. 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.)