A Fine Japanese Lacquer Shell Matching Box (Kai Awase Tebako)

精美日本金蒔繪貝合手箱

By Hara Yōyūsai (1769–1845) Edo period

This superb, stacked lacquer tebako and stand by Yōyūsai is exquisitely decorated with Kai Awase (shell-matching game) motifs on a shimmering hirame ground. The shells are rendered in sophisticated takamaki-e and togidashi, with several overturned to reveal literary allusions from The Tale of Genji or the Immortal Poets, including scenes of maple leaves, songbirds, and fireflies. The interior features a rich nashiji ground and contains an incense wrapper decorated with hō-ō birds and seasonal flowers, accompanied by mother-of-pearl incense pieces and tweezers. The ensemble, finished with high-quality roiro and gyōbu nashiji details, is preserved with its original lacquer and wood storage boxes.

Hara Yōyūsai (1769–1845)

Hara Yōyūsai occupies a central position in the history of late Edo period lacquer, standing among the most accomplished and intellectually ambitious lacquer artists of his generation. Active in Edo during a period of heightened refinement in the decorative arts, Yōyūsai was celebrated for his ability to unite extreme technical sophistication with literary and poetic subject matter. His work reflects a deep engagement with classical culture, courtly themes, and seasonal imagery, rendered with a level of control and finish that places him firmly within the highest echelon of Japanese lacquer artists.

Yōyūsai was particularly admired for his mastery of complex maki-e techniques, including takamaki-e, togidashi, nashiji, and the subtle manipulation of hirame grounds. His surfaces are characterised by extraordinary density and precision, with each element carefully balanced within the overall composition. Unlike many contemporaries who relied on repetition or formula, Yōyūsai’s works reveal continual invention, whether through the nuanced rendering of materials, the orchestration of colour and metal, or the integration of narrative detail. The labour involved in his finest works often extended over months or years, underscoring both the technical demands of the medium and the artist’s exceptional discipline. 

Today, Yōyūsai’s work is represented in important museum collections and has been the subject of focused scholarly study, notably through dedicated exhibitions and publications in Japan. His lacquer objects, particularly those incorporating classical themes such as Kai Awase, incense utensils, and courtly accoutrements, are regarded as benchmarks of Edo period craftsmanship. Works of this quality are rare on the market and are valued not only for their beauty but also for their role in preserving and transmitting the highest traditions of Japanese lacquer at a moment of remarkable artistic maturity.