Tebako or ornamental cosmetic box in a rectangular form with softly rounded corners falling to a beveled edge, the surface decorated with branches of flowering hydrangea. Of black kawari-nuri lacquer (a technique that incorporates ground and textured lacquers to subtly mottle the surface), the stems and leaves of raised gold lacquer, the blossoms of sculpted aogai or inlaid mother-of-pearl and raised gold lacquer, the interiors and base of dense nashiji gold flake lacquer, and the mounts of applied silver. Signed in raised gold lacquer on the reverse of the lid by the artist: Tairei, and sealed: Tairei (Takai Tairei, 1881 – 1971). Taisho era, circa 1912 – 1926.

With the tomobako or original box, the exterior lacquered red and inscribed in raised silver lacquer on the exterior of the lid: Ajisai Tebako or Hydrangea (Motif) Ornamental Cosmetic Box; and on the reverse of the lid signed: Tairei Saku or Made by Tairei, and sealed: Tairei.

E. A. Wrangham suggests in The Index of Inro Artists that Tairei may have been a student of Ikeda Taishin (1825 – 1903). It may be that Tairei first worked in the Nara or Osaka area. In 1948 and 1949 Tairei exhibited at the 4th and 5th Nitten, by which time he is listed as a Tokyo artist in the Nittenshi. As the brother-in-law of Akatsuka Jitoku, Tairei was related to one of the most influential lacquer artists of the early 20th century.

For another example of Tairei’s work, c.f. Kagedo’s catalogue Arts of Imperial Japan, number 29.

Tairei curls the hydrangea across three sides and the lid of the box, balancing the dramatic foliage with an elegant expanse of empty space. The kawari-nuri surface of the black ground provides a quieter, lightly textured, matte contrast to the shimmering, coppery-gold leaves and brilliantly layered, blue and pink blossoms. These rise in overlapping layers in high relief, glowing with translucent light.