In creating each piece, Hariya employs several maki-e techniques, including hiramaki-e (flat maki-e) and takamaki-e (raised maki-e). What matters is not only the techniques themselves but also the way a design is thoughtfully composed.

He apprenticed under several masters, but was most deeply influenced by one who placed the highest value on classical maki-e. A testament to this influence is his adherence to the traditional “theory of balance” he inherited from his teacher. According to this principle, the overall balance of the design should follow a 5:2:3 ratio—five on the top, two on the front, and three on the sides of the lid.

On the front—the part that most easily catches the eye—he paints backgrounds and scenes that evoke a sense of the season and atmosphere when the piece is held in hand.

By contrast, the sides include areas that are visible to the guest and those that are not. Since the far side and lateral surfaces are generally out of sight, he sometimes chooses to leave them intentionally unadorned, allowing empty space to play a role in the overall composition.In other words, it is about maintaining balance across the whole piece. I was taught the importance of building a solid foundation of technique, and that lesson remains the most vital in my work today,” Hariya explains.Yet, while firmly rooted in tradition, his artistic expression is never bound by it. As seen in the work presented here, he applies traditional maki-e techniques to the modern medium of acrylic, constantly exploring new possibilities for lacquer art. Acrylic, however, is a delicate and challenging material—its smooth surface makes it hard for the eye to focus, and its depth can be difficult to perceive. Even so, Hariya largely taught himself how to adapt, occasionally drawing on the wisdom of fellow artisans, and continues to embrace the challenge. His love of innovation and fearless spirit of experimentation are truly inspiring.

The acrylic tea container featured here reveals different expressions depending on whether they are viewed from the outside or the inside.

For example, Silver Grass under the Moon Natsume Matcha Container. From the outside, a silver moon appears to float in the night sky, but when seen from the underside of the lid, a golden moon emerges. On the pampas grass, specks of silver powder evoke the sparkle of morning dew, creating a dimensional and dreamlike atmosphere. Speaking of this work, Hariya notes that he sought to capture “a fantastical mood, as if the moon were shimmering in the middle of the night.”

Another piece, Wagtails at the Waterfall Natsume Matcha Container, conveys a similar duality. It depicts a summer landscape of Japan, where a waterfall cascades between verdant maple leaves, evoking a sense of coolness and clarity. Viewed from the outside, the scene is rendered in deep, natural tones, while the inner side of the lid bursts into vivid colors, as if illuminated by light itself.

These acrylic tea caddies offer a fresh impression unlike traditional lacquerware, presenting a new landscape each time they are held in one’s hands.