Maki-e in Transparency: The Innovative Art of Hariya Masayuki

When the lid of the paulownia box is lifted, a delicate maki-e design shimmers on the surface of a transparent tea container, adorned with gold leaf and raden, mother-of-pearl inlay. This stunning piece was created by Hariya Masayuki, a maki-e artist from Yamanaka, Ishikawa, whose deep mastery of Japanese lacquer has led him to strive toward new forms of expression.

In this interview, we explore the ideas and intentions behind his innovative natsume—traditional matcha containers—that bring the modern medium of acrylic into the traditional world of maki-e.

When asked about his childhood, Hariya spoke nostalgically of the past. "In that generation, we didn’t have toys like children do today," he said. He made his playthings from bamboo and wood, discovering the joy of creating and of the natural world. His father was a barrel maker, and his maternal grandfather a craftsman whose carving medium was coral. Tools were always around, and the atmosphere of craftsmanship was part of daily life—a natural starting point for a life of creating.

Hariya first fell in love with the art of maki-e at the age of seventeen or eighteen, during a visit to an art museum in Kanazawa. There, he saw works by Matsuda Gonroku and Terai Naoji, both recognized as Living National Treasures. The shimmer of gold on lacquer, the delicate patterns, precisely handcrafted—he was awestruck. "Could this really all have been made by hand?" he thought, speechless.

That moment began his path as a maki-e artist.

He then discovered natsume tea containers at a local exhibition of artisans. "Such intricate work is made right here?" he thought, amazed by the artistry happening so close to home.

Hariya eventually decided to pursue maki-e professionally and began formal training in Yamanaka. He had three instructors. His first teacher was an artist active in Nitten, Japan’s largest open-call art exhibition, who emphasized modern sensibilities. The second was a traditionalist who carried on classical techniques. And the third was a pragmatist who taught creation techniques that took into account contemporary practicality and profitability.

Of the three, the teacher who influenced him most was the traditionalist who valued classical maki-e. This resonated deeply with Hariya, as the artists who first inspired him—Matsuda Gonroku and Terai Naoji—were themselves deeply committed to traditional techniques.

"I was taught the importance of building a strong technical foundation," Hariya told us. "That teaching remains the core of my work even today."

Ishikawa Prefecture, alive with traditional crafts like Kutani ware ceramics, lacquerware, metalwork, and more, also played a key role. This rich cultural environment, combined with the solid technical foundations he learned from his mentors, continues to form the bedrock of Hariya’s artistic expression.

Why would Hariya, a maki-e artist deeply rooted in tradition, choose to work with such a modern material as acrylic?

The reason lies here: by applying classical techniques to acrylic, Hariya saw an opportunity to explore entirely new forms of maki-e expression. It’s indicative of the joy he finds in experimentation and continuously taking on new challenges.

Hariya told us he initially tried applying lacquer to glass, but was unsatisfied with the results. It was then that he discovered acrylic.

As a material, acrylic offers both clarity and lightness, capable of creating a refreshing atmosphere even at summer tea ceremonies. Adding matcha to an acrylic natsume shows off the bright green of the tea and changes the appearance of the tea canister—a true thrill of the experience that can only be achieved with this material.

Take, for example, Hariya’s natsume, Taki ni Sekirei (Wagtails at the Waterfall Natsume Matcha Container). When matcha powder is added to this tea container, it creates a harmonious natural scene as it blends with the depiction of green maple leaves, a waterfall, and a wagtail bird. Placing such a piece in a tea room effortlessly evokes a cool summer atmosphere.

Contrary to its appearance, acrylic is a surprisingly delicate and finicky material to work with.

The main challenge is its transparency, which, unlike typical lacquerware, makes it difficult to judge when and where, exactly, the brush makes contact with the surface. It is almost like painting in midair.

Static electricity also poses a problem. As the brush approaches, the lacquer can suddenly scatter like a sparkler, making precision work especially difficult.

To overcome these issues, Hariya devised a solution: temporarily blacken the inside of the acrylic with ink. This creates contrast, allowing him to visualize the brushstrokes and adjust the composition. After painting, the ink is carefully washed away, restoring the acrylic’s transparency. This temporary blackening is the key to making maki-e on acrylic possible.

"If you can't see it, you can't paint it. So I just make it visible first,"

Hariya explained.

Hariya created this method through his own self-study, with insight and knowledge borrowed from fellow artisans. His flexibility, keen eye, and deep understanding of materials are what define the essence of his work.

In the interview, Hariya spoke with care, explaining in detail about the two acrylic tea containers featured at MUSUBI KILN’s Gallery.

Taki ni Sekirei (Wagtails at the Waterfall Natsume Matcha Container) is intricately detailed with motifs of maple leaves, a cascading waterfall, and a wagtail in flight. Every aspect, from composition to technique, is carefully planned; the entire piece took about three months to complete. Multiple maki-e methods, including hira maki-e (flat maki-e) and taka maki-e (raised maki-e), were used to bring forth a layered, three-dimensional landscape atop the transparent container.

In contrast, Tsuki ni Susuki (Silver Grass Under the Moon Natsume Matcha Container) evokes the quiet beauty and spaciousness of autumn. A full moon represented by gold leaf is paired with susuki (silver grass, also known as Japanese pampas grass) painted in delicate, finely drawn lines, evoking a field brushed by autumn winds. Using classical maki-e techniques such as hira maki-e and harikiri, along with delicate gold and silver powders, the surface shimmers faintly under the light. Whether it recalls a misty morning, long grass at dusk, or a moonlit night, the sense of time depends entirely on the heart of the viewer.

Both tea containers possess a unique contrast between front and back that is only possible with acrylic. The view changes dramatically depending on whether you look at the maki-e from the outside of the tea container or the underside of the lid. This is because Hariya applies a different pattern to the lid’s underside. When matcha is added, the container fills with green, and the scene gains even greater depth.

When asked what brings him the most fulfillment as a maki-e artist, Hariya responded in a calm yet resolute voice:

"It’s when the countless brushstrokes I’ve layered with care and intention are finally recognized as a single, complete work."

Today, both of his sons are also pursuing careers in maki-e. He has this dear wish for the two of them: "I want them to become artists who stay true to themselves, without being pushed around by trends." He hopes they won’t fear taking on new challenges and will live according to their own sensibilities and convictions.

In a rare household where four maki-e artists live under one roof, Hariya balances his roles as father, mentor, and grandfather. Together with his family, he continues to devote himself to creation every day.

He looks forward to what lies ahead—new maki-e works that honor tradition while embracing the sensibilities of the present.