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This information was automatically generated from data provided by MOA: University of British Columbia. It has been standardized to aid in finding and grouping information within the RRN. Accuracy and meaning should be verified from the Data Source tab.

Description

Yellow, loosely woven cloth (part a) with black calligraphy on one side is tied around shells (parts b-o). Seven sets of two bivalve shells with matching scenes painted on gold paper glued to the inside. The gold paper has dots and geometric patterns. Between the patterned paper are different variations of green, brown and white swatch across the centre as part of the landscape greenery. Outer surface of shell is plain and polished. The first set (parts b and c) have red and blue flowers on upper strip of paper. The second set (parts d and e) have a branch with flowers and two white and black birds with red breasts on the upper half. The third set (parts f and g) have brown grass and red and blue flowers on gold paper on the upper half. The fourth set (parts h and i) have red and blue flower sprays on upper half. Gold is rubbed off in a few places. The fifth set (parts j and k) have a fence with blue and red flowers above. The sixth set (parts l and m) have a brown log-like image above swatch. The last set (parts n and o) have three white flowers and one red flower on upper gold paper.

History Of Use

Shell matching games probably developed around the end of the Heian Period (9 th-12th centuries C.E.). The shells are divided into 2 groups; one group is scattered on the floor (ji-gai) and the others (dashi-gai) are produced by the participants, who compete in finding the correct counterpart on the floor. The winner is decided by obtaining the greatest number of matched pairs. During the Muro-Machi Period (14th to 16th centuries C.E.) it became customary to include a shell-game set in a bride's trousseau, because a clam shell half can only be paired with its true mate.

Cultural Context

social

Item History

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