H. 1 3/4 in. (4.4 cm); W. 2 1/2 in. (6.4 cm); D. 2 1/2 in. (6.4 cm)
Edward C. Moore Collection, Bequest of Edward C. Moore, 1891
Not on view
Plum trees were not native to Japan, but were brought over to the island country from China in the Nara period (710–784). Plum blossoms appeared instantly in contemporary court literature, where they were associated with the bush warbler, representing the beginning of spring. Along with its symbolic value as a harbinger of spring, the plum blossom's sweet fragrance was also an inspiration for courtly poetry. From as early as the Heian period (794–1185), plum trees appeared in paintings and in stylized form on decorative art objects, upon which frequently only the flowers were depicted. From the early history of the Japanese incense culture, plum had a significant role. Several incense mixtures and incense games were related to the flower. As a reference to its smell, the plum motif was often represented on incense-related utensils. Incense mixture balls would most likely have been stored in this plum-flower-shaped incense box.
Signatures, Inscriptions, and Markings
Marking: (On base) : Fuku, in black on green
Edward C. Moore , New York (until d. 1891; bequeathed to MMA).
New York. The Metropolitan Museum of Art. "Poetry and Travel in Japanese Art," December 18, 2008–May 31, 2009.
New York. The Metropolitan Museum of Art. "A Beautiful Country: Yamato-e in Japanese Art," November 20, 2010–June 5, 2011.
Artist:Date: late 17th century Accession Number: 1975.268.526a, b Date:late 17th centuryMedium:Porcelain painted in underglaze blue and overglaze enamels (Arita ware, Kakiemon type)Accession:1975.268.526a, bOn view in:Gallery 201