Glowing in the evening light of a full moon, a golden weeping willow wrapped over the face and sides of this circular writing box forms the backdrop to a shimmering rendering of white plum blossom in mother-of-pearly inlays. Technically superb – using takamakie and kirikane inlays – the design itself is relatively traditional, but open the box and the unique design splendour and originality of this piece is revealed.

The interior creates an immensely rich setting for the silver chrysanthemum water-dropper, suiteki, and inkstone, through a stylised, thoroughly modern interpretation of the timeless Japanese natural theme of the Seven Autumn Grasses. It is crisply drawn over the entire internal surface using the togidashie technique, with gold and silver powders, and gold inlay kirikane highlights. 

Kyoto-born Hiiraishi Takashi studied under renowned lacquer artist Okumura Kajo, respected for imparting fresh vigour into traditional Japanese design themes from nature. He was a regular exhibitor at the National Art Exhibitions. Around 1940 he changed his professional name to Hiiraishi Kosho, thus placing this work in the 1930s. Working as professor at the Kyoto Municipal School of Arts and Crafts, among his protegés in the next generation of Kyoto lacquer artists were Hattori Shunsho and Okada Yuji (Shiho). Takashi went on to receive the Kyoto Municipal Order of Cultural Merit for his lifetime work in lacquer-ware. Works by him are held in the Kyoto National Museum of Modern Art.