Kazari-bako or ornamental box in a tall rectangular form, the two largest sides textured in relief with repeating black diamonds, and the two sides and top in repeating lines of stylized gold and brown snake grass. Of takamaki-e or raised gold and colored lacquers with kirikane or inlaid gold nodes in some of the snake grass, the diamond patterns executed in choshitsu or carved technique and finished in roiro or polished mirror-black, and the interiors of red and roiro black lacquer. By Taguchi Yoshikuni (Taguchi Yoshikuni, the go or art name of Taguchi Zenjiro, 1923 – 1998). Showa 39 or 1964.

With the tomobako or original box, inscribed on the exterior of the lid: Tsuikoku Mon Maki-e Kazari-bako or Decorative Box in Maki-e Lacquer with Black Faceted Motif, and signed: Yoshikuni, then sealed twice: Yoshi and Kuni.

This kazari-bako was made for exhibition at the Dai Ju Ikkai Nihon Dento Kogei Ten (11th Japan Traditional Craft Exhibition), held in 1964, and it is illustrated in the catalogue of the exhibition (number 162), where it is titled: Tsuikoku Mon Maki-e Kazari-bako or Decorative Box in Maki-e Lacquer with Black Faceted Motif. This piece is also illustrated in Maki-e: Taguchi Yoshikuni, page 168. It is now in the collection of the Denver Art Museum.

Born in Tokyo, Taguchi Yoshikuni was the son of a famous specialist in Chinese medicine, who knew many of the leading figures in the Japanese art world. These influences led Yoshikuni to study lacquer history under Tomio Yoshino and Nihonga painting under Okumura Dogyu. He also developed close friendships with the painters Yasuda Yukihiko and Maeda Seison. With this background, Taguchi came to study lacquer arts under Matsuda Gonroku, from whom he acquired a deep facility in techniques and a mastery of graphic design. In 1946, he exhibited for the first time at the 2nd Nitten, a venue to which he returned again three times. In 1961, he first exhibited at the 8th Nihon Dento Kogei Ten (Japan Traditional Crafts Exhibition), winning the Encouragement Prize. Yoshikuni became a member of the Japan Traditional Crafts Association the next year and from this point onwards was active with the association, winning many prizes at the exhibitions. In 1974, he became a lecturer at the Tokyo University of Arts, an assistant professor the next year, and a served as full professor from 1982 – 1990. His work heavily influenced the world of contemporary lacquer art, and in 1989, he was honored by the Ministry of Cultural Affairs with the designation of Juyo Mukei Bunkazai or Important Intangible Cultural Asset (commonly known as a Living National Treasure).

An important exhibition work from Taguchi Yoshikuni’s seminal period, this kazari-bako illustrates perfectly the artist’s innovative style. The carved diamond patterns, like the snake grass motif running on the sides, flow entirely over the surfaces of the box. In traditional lacquers, these motifs would have remained subsidiary design elements. Employing repetition to stylized and abstract effect, Yoshikuni composes them like textile patterning as the sole surface ornamentation.

For other examples of his work, c.f. Selected Masterpieces from the University Art Museum, Tokyo National University of Fine Arts and Music: Grand Opening Exhibition, pages 254 – 255, number 111; Kogei – A View of a Century of Modern Japanese Crafts, page 195, number 202; and the National Museum of Modern Art, Tokyo catalogue Japanese Lacquer Art: Modern Masterpieces, numbers 73 – 74, and number 98.