Use your arrow keys to navigate the tabs below, and your tab key to choose an item
Title:Incense Box (Kogo) with Design of Autumn Grasses
Period:Muromachi period (1392–1573)
Date:15th century
Culture:Japan
Medium:Black lacquer with gold maki-e on gold nashiji ground
Dimensions:H. 1 1/4 in. (3.2 cm); W. 2 1/2 in. (6.4 cm); D. 3 1/4 in. (8.3 cm)
Classification:Lacquer
Credit Line:Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015
Object Number:2015.300.281a, b
These rectangular boxes, known as kōgō, have rounded corners and fitted lids that are very slightly raised and curved at the sides. Thin metal rims encircle both the mouth of the lid and the base. Originally, such boxes held articles used to blacken the teeth with a liquid known as haguro, which was obtained from a mixture of iron and other minerals. An important cosmetic for both men and women in ancient Japan, it seems to have been in common use even before the Nara period; it was regarded during the Heian period as a sign of sophistication and gentility. Male aristocrats at the court of Kyoto continued to use haguro throughout the Edo period; women did so until the late nineteenth century. Its application formed an important part of the symbolism associated with the initiation ceremony for boys and girls at the age of nine. Young women, however, applied haguro on their teeth only after matrimony, as it was a mark of fidelity.
These two boxes are distinguished from other types of toiletry containers by their rectangular shape. A complete cosmetic set usually consisted of a larger box that held two each of three differently shaped containers: square for face powder, round for incense, and rectangular for haguro. The boxes were frequently separated from the sets to which they once belonged for later use in chanoyu (the tea ceremony). Before the late sixteenth century, when the Japanese began making small pottery boxes designed specifically for incense, such lacquer containers were often substituted for the rare and expensive Chinese ceramic imports that were then in vogue.
Except for the bottom surface, the background of each box is covered evenly with fine gold speckles, producing an effect called nashiji (pear skin), as it resembles the spotted skin of Japanese pears. The seascape design on one kōgō (cat. no. 45), with its gnarled pines and plovers in flight, continues from the top onto the four sides and the interiors of both top and bottom. The slightly sharp curve of the top dates this piece to the early fourteenth century, during the Kamakura period;[1] so too does the decorative motif, which in its intricacy and power is worthy of a much larger object.
The nashiji on the other kōgō (cat. no. 46) is slightly denser. The top and sides, together with the interiors of the top and bottom, are decorated with a design of pampas grass, gentian, and other wild plants. The more flamboyant design suggests a date in the fifteenth century, during the Muromachi period.
[Miyeko Murase 2000, Bridge of Dreams]
[1] Arakawa Hirokazu 1969, p. 64.
Muraguchi Shirō , Japan, (until 1970; gifted to Burke); Mary and Jackson Burke Foundation , New York (1970–2015; donated to MMA)
New York. The Metropolitan Museum of Art. "Japanese Art: Selections from the Mary and Jackson Burke Collection," November 7, 1975–January 4, 1976.
Seattle Art Museum. "Japanese Art: Selections from the Mary and Jackson Burke Collection," March 10–May 1, 1977.
Minneapolis Institute of Arts. "Japanese Art: Selections from the Mary and Jackson Burke Collection," June 1–July 17, 1977.
Tokyo National Museum. "Nihon bijutsu meihin ten: nyūyōku bāku korekushon," May 21, 1985–June 30, 1985.
Nagoya City Art Museum. "Nihon bijutsu meihin ten: nyūyōku bāku korekushon," August 17, 1985–September 23, 1985.
Atami. MOA Museum of Art. "Nihon bijutsu meihin ten: nyūyōku bāku korekushon," September 29, 1985–October 27, 1985.
Hamamatsu City Museum of Art. "Nihon bijutsu meihin ten: nyūyōku bāku korekushon," November 12, 1985–December 1, 1985.
New York. Asia Society. "Art of Japan: Selections from the Burke Collection, pts. I and II," October 2, 1986–February 22, 1987.
Schirn Kunsthalle Frankfurt. "Die Kunst des Alten Japan: Meisterwerke aus der Mary and Jackson Burke Collection," September 16, 1990–November 18, 1990.
New York. The Metropolitan Museum of Art. "Masterpieces of Japanese Art from The Mary Griggs Burke Collection," March 30–June 25, 2000.
Murase, Miyeko, Il Kim, Shi-yee Liu, Gratia W. Nakahashi, Stephanie Wada, Soyoung Lee, and David Ake Sensabaugh. Art Through a Lifetime: The Mary Griggs Burke Collection. Vol. 2, Japanese Objects, Korean Art, Chinese Art. [New York]: Mary and Jackson Burke Foundation, [2013], p. 96, cat. no. 739.
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
The Met's collection of Asian art—more than 35,000 objects, ranging in date from the third millennium B.C. to the twenty-first century—is one of the largest and most comprehensive in the world.
