19th century
Amulet boxes such as these were worn in pairs, with a piece of cloth passing through the loops on the side to attach one box to each upper arm. In the center of each box lid is the bismallah, written in such a way as to form a pseudo-magic square. Around the edge of the lid and around the body are verses from the Qur'an. The boxes would also have contained miniature Qur'ans. The Qur'an was believed to have protective qualities, and so these amulets would have protected the wearer from harm, disease, misfortune, and the evil eye, and would have afforded him or her a general sense of well-being. Notes from the Glory and Prosperity exhibition, Feb - June 2002.
7 cm (2 3/4 in.)

Dry lacquer; dark brown lacquer over fabric core, the decoration on the exterior in "takamakie" high relief gold and brown lacquer, the decoration on the interior and base in "nashiji" gold flakes; the base with signature reading "Mushū" in black lacquer
21st centuryJapaneseMaki-e lacquer
19th centuryJapaneseWood
18th centuryAmericanSilver
19th centuryBritishOlive wood
European?Lacquer on wood with decoration in gold and silver utilizing the hiramaki-e (low-relief sprinkled design), takamaki-e (high-relief sprinkled design), nashiji ("pear-skinned" ground), and harigaki (linear incising) techniques, and with applied kirigane (cut gold and silver) and shibuchi (copper-silver alloy); metal fittings
17th-18th centuryJapaneseLacquer on wood with Kōdaiji-style decoration in gold and silver utilizing the hiramaki-e (low-relief sprinkled design) and e-nashiji (pictorial "pear-skinned" ground) techniques
17th centuryJapaneseHuangpu ware: light gray stoneware covered all over with white slip, the decoration painted in localized areas of discontinuous dark brown glaze. From the Huangpu kilns, Tongchuan, Shaanxi province
9th centuryChineseEnameled blue-and-white ware, "wucai" type: porcelain with decoration painted in underglaze cobalt blue and overglaze polychrome enamels; with spurious overglaze red enamel mark reading "Chenghua nian zhi" on the base
17th centuryChineseLacquer on wood with decoration in sabi urushi (thick lacquer paste) and gold utilizing the hiramaki-e (low-relief sprinkled design) technique and with appliqués of lead foil and raden (mother-of-pearl) inlays; stone and copper fittings
16th-17th centuryJapaneseLacquer on wood
JapaneseSilver
19th centuryBritish