Fredric mentioned that the the brown icon with the little twisted wire ties is likely this magical object. Or perhaps the hat of invisibility...

https://en.wikipedia.org/wiki/Uchide_no_kozuchi

And the little horn with 3 dots seems to be the icon for precious rhino horn.

Quite a bit of imagery for one small bead, yes?

Another picture of the third item spilling from the bag - the raincoat.

So it seems we have the magical bag, hat and raincoat of invisibility, hammer, coral branch, rhino horn, and miscellaneous gems and pearls scattered about?

Frederick once upon a time said that the best ojime invite inspection and turning over and over in hand; this example certainly seems to qualify in that respect.

Makes me wonder what the accompanying inro and netsuke looked like - must have been quite a set.

https://books.google.com/books?id=9THRAgAAQBAJ&pg=PT10&lpg=PT10&dq=Seven+treasures+of+the+Takaramono&source=bl&ots=ENJQMSqdpV&sig=OiJyeQ0NXh4xSSe8MNqTV6rOsx8&hl=en&sa=X&ved=0ahUKEwihl66kkJrVAhWk5IMKHQ9XBowQ6AEIQDAG#v=onepage&q=Seven%20treasures%20of%20the%20Takaramono&f=false

do good deeds while remaining out of sight.

The various different sizes of the wires is notable, as well as the use of flattened twisted wire.

I have yet to find an example of this combined wires technique in Chinese cloisonne prior to the Kuo factory in Taiwan circa the 1970s.

The use of glossy brown enamel is also not something seen in Chinese cloisonne from the likely era of this ojime. Until the Beijing Enamel Company was established in the late 1950s, Chinese cloisonne seems to have relied upon a crushed mixture of rust red and black to simulate brown, usually for branch stems. Gray was likewise a mixture of black and white glass.

I mention this because Japanese cloisonne enamel colors exploded after 1870, when the German glass and ceramics chemist Gottfried Wagner was hired by the government and taught new enamel composition methods. The wall of Namikawa Yasuyuki's atelier, for example, shows what appears to be well over a hundred colors. Fredric Schneider's book states:

"By 1895 Namikawa Sosuke was said to have invented 360 new colors. Likewise, Yasuyuki regularly created as many as twenty different shades of each of the dozens of colors he used; swatch-card examples of these are preserved in the Namikawa Cloisonne Museum of Kyoto. Yasuyuki's daughter describes at length the sleepless nights and severe personal effort he endured to create new colors as late as 1906. The perfection of his enamels was remarked upon by the judges at the 1895 Fourth Domestic Exposition, where they awarded him a first prize and noted his "exquisite colouring" and "flawless surface with no pitting or bubbles, achieved through painstaking study of glazing and firing." Harada, in 1911, singled out Nagoya's Kawade Shibataro for his innovative colors, and a 1912 auction catalog states that Hayashi Kodenji had used over fifty-one different shaes of enamel on one six-inch high incense burner. As a matter of comparison with those achievements, in the mid ninetheenth century, the Sevres porcelain factory produced only about fifty shades of colors."

http://mymodernmet.com/trove-modern-samurai-haori-jackets/

Needs a bead necklace accessory.

Himo is name of the traditional ties used to close the front of the haori (see photo). The ties can be replaced by a beaded strand of about 5-6" length that has hooks on either end to fasten the small loops sewn inside the haori to accommodate the woven himo, which is removable. The image is of a beaded himo on eBay.

I recently purchased two vintage summer-weight silk haori from Japan - they are a steal at $10 each. You can find them on eBay by searching vintage haori. I may string some beads to make himo for both of them, but note that for women, the himo is tied so that the front lapels of the haori close and the himo is not visible. So a beaded himo will serve as a "hidden treasure" if worn this way. In a similar concept, men's haori often have very plain exterior fabric, but gorgeous print or embroidered linings that are only seen by the wearer when donning or doffing the garment. A very Japanese detail!

Comment from the collector.