An exuberant celebration of the visual power of geometry and repetition – a chequerboard of eight planes, each defined by a grouping of nine square, glazed porcelain inlays in a range of blues, greens and turquoise. The design discipline originates from the ceramic inlays, set into visually receding tonal planes of lacquer decoration. A further defining rhythm is established through contrasting eight grounds of variegated maroon and brown lacquer finish, delineated through subtle gold makie crosses. It is a work which repays quiet contemplation.

The use of ceramic inlays is associated with lacquerware of the Rinpa School from the 17th century, and continued into 20th-century collaborations between Kyoto craftsmen. The ceramic craftsman who produced the pieces in this work is not known, but it would not have been Rakuzen.

Rakuzen II, real name Toyo, had been born in the coastal town of Tsuruga, north of Kyoto, but was adopted by a Kyoto makie family – the Iseya – led by Yamada Rakuzen I (1874–1939). In 1930 he entered the Kyoto Municipal School of Arts & Craft, graduating in 1933. His work was regularly exhibited in Japan, including the Nitten, and received numerous prizes.