mid-19th century
This small box was likely intended to hold snuff. The exterior of the hinged lid is decorated with a scene of two young lovers embracing on a terrace. The foreground holds a sheathed dagger, a flintlock, and a tray with refreshments. Clean-shaven with light-colored eyes and dressed in a frock coat, the bare-footed male lover perhaps represents a European. The female lover is dressed in Qajar garments, including an aigrette in her hair, a jacket with turned-back cuffs, and a short flaring skirt of the type that became popular in Iran in the later 19th century, following Nasir al-Din Shah Qajar’s travels in Europe. The young woman glances rightward, in the direction of a frowning older man, presumably her husband. Sporting a prominent mustache and a Qajar hat, he leans into the terrace from outdoors. An elderly woman in headscarf appears at the left, partially hidden by two large cushions. Her finger is raised to her mouth in the conventional gesture of wonder or dismay. The vignette is framed by gold scrollwork and bordered by floating bouquets.
2.4 × 6.4 × 9.2 cm (15/16 × 2 1/2 × 3 5/8 in.)
Kazem R. Kooros, Houston, Texas (by 1969), gift; to his son Saeed Kouros, Houston, Texas (by 1979), gift; to the Harvard Art Museums, 2018.
Kamakura-bori; black and cinnabar lacquers over a carved wooden core
14th-15th centuryJapaneseLacquer 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 kanagai (sheet gold and silver appliqué) techniques, with applied kirigane (cut gold and silver) and with sheet-lead inlays; stone, metal, and enamel fittings
17th centuryJudaeanBronze, with damascened overlays of cut sheet silver, the bronze with induced gunmetal gray surface color
19th-20th centuryKoreanLacquer on wood with decoration in gold, silver, and sabi urushi (thick lacquer paste) utilizing the hiramaki-e (low-relief sprinkled design), takamaki-e (high-relief sprinkled design), and nashiji ("pear-skinned" ground) techniques, with applied kirigane (cut gold and silver) and with shibuchi (copper-silver alloy), brass, silver, and coral inlays; stone, metal, and enamel fittings
18th centuryJapaneseSilver with parcel gilding
3rd century BCE-3rd century CEChineseLacquer on wood with decoration in gold, silver, and aokin (gold-silver) utilizing the hiramaki-e (low-relief sprinkled design), togidashi maki-e (sprinkled design revealed by polishing), nashiji ("pear-skinned" ground), and e-nashiji (pictorial "pear-skinned" ground) techniques; gilt-copper fittings [tray with decoration of cranes in takamaki-e (high-relief sprinkled design) may be a later replacement]
18th centuryJapaneseInlaid celadon ware: light gray stoneware with celadon glaze over incised decoration inlaid in white slip; the inner rim banded with metal
12th centuryKoreanIvory with velvet lining
18th centuryBritishBronze
7th-10th centuryChineseLacquer on wood with Kōdaiji-style decoration in gold and silver utilizing the hiramaki-e (low-relief sprinkled design), takamaki-e (high-relief sprinkled design), nashiji ("pear-skinned" ground), e-nashiji (pictorial "pear-skinned" ground), and harigaki (linear incising) techniques; [modern] silver fittings
16th centuryJapaneseLacquer on wood
JapaneseLacquer on wood with decoration in gold and silver utilizing the hiramaki-e (low-relief sprinkled design) and takamaki-e (high-relief sprinkled design) techniques, applied kirigane (cut gold and silver), and [later] raden (mother-of-pearl) inlays; metal fittings
15th-16th centuryJapanese