Suzuribako by Takai Tairei, Japan, Taisho/Showa period.

This flattened and lacquered bamboo suzuribako, signed by Takai Tairei, is an exceptional piece, probably dating from the Taisho or early Showa period. The delicate pattern of red and gold plums, applied in maki-e to the bamboo surface, perfectly illustrates the artist’s ability to capture the beauty of nature. The refined lacquer work, with raised details that almost seem to float on the surface, is a demonstration of the mastery of techniques passed down by the maki-e masters. The precision of the lines and the harmony of the colors show the influence of the Zeshin school, while incorporating personal touches that characterize Tairei’s distinctive style. The glossy red lacquer interior houses an ink stone and a water compartment, utilitarian elements that reflect Tairei’s philosophy on the everyday use of art objects.

Takai Tairei, born Takai Shigeji in 1881 in Tokyo's Aoyama district, was the second son of Takai Yasuji, also known as Tokukousai II, a maki-e master. Tairei learned traditional lacquer techniques from his father at a young age, and upon his father's untimely death in 1903, he took over the family at the age of 22. He then entered the workshop of the famous master Ikeda Taishin (1825-1903), a prominent disciple of Shibata Zeshin, where he honed his skills in the art of maki-e. At the same time, he trained with Akatsuka Jitoku (1871-1936), to whom his older sister, Takai Kei, was married. Throughout his career, Tairei has focused on creating maki-e objects inspired by nature and everyday life. Contrary to the idea of art as purely decorative, he firmly believes that maki-e works should be used in everyday life. This belief, inherited from the masters of the Edo period, emphasizes the importance of a harmony between beauty and functionality. For him, the true value of lacquerware is revealed through everyday use, which enriches people's lives. Each piece, even when inspired by traditional motifs, is unique in its subtle composition and depth of expression.

Tairei often collaborates with Fukuoka Bokusai, a renowned carpenter from Kyoto, who already provided wooden stands for Zeshin. This flattened bamboo box requires great skill to make and the use of bamboo remains rare in Takai Tairei's work. Incidentally, he also made very little sizuribako.

At the height of his career, Tairei was able to combine the teachings of his three masters to develop a style that was his own. His works were widely recognized at the national Nitten exhibitions, including the 4th and 5th editions in 1945 and 1949, where his powerful pieces captured the attention. One of his major contributions was his ability to perpetuate the tradition of lacquerware while adding distinct personal elements, often inspired by nature.

After World War II, Takai Tairei diversified his production to meet demand. He began making lacquerware jewelry such as obi pins, brooches, and rings, while continuing to create objects in kiji maki-e, a technique that involves applying lacquer directly to wood.

Tairei not only left a mark on the world of lacquerware through his works, but also through his influence on the next generation. His younger brother, Senzaburo, had also trained in maki-e under Akatsuka Jitoku, but he died tragically at the age of 30, leaving few signed works. This loss was a shock to Tairei, and it is felt in the emotional depth of his later works.

Tairei passed away in 1971 at the ripe old age of 91, marking the end of a long career that spanned three Japanese historical periods: Meiji, Taisho, and Showa. His passing also marked the end of a direct connection with the great lacquer masters of the Edo period. His student, Arisumi Mitamura, who had begun his apprenticeship under his own father and grandfather, inherited precious tools and materials from Tairei, thus perpetuating his legacy. Mitamura expressed his gratitude for the many lessons he received from Tairei, as well as for the works and photographs he was able to preserve by publishing a monograph on his master in 2011, the release of which was celebrated with an exhibition.

Takai Tairei remains today a key figure in the art of maki-e, and his works, such as this suzuribako, which continue to embody the elegance of nature and the sophistication of ancestral know-how, remain rare on the market.

30 x 12,3 x 4,3 approx
Signed and sealed tomobako