Here, Hirst returns to the floral patterns for which he is so well known, but this time, it is through the appropriation of historical Japanese forms and narrative. Taking as his subject matter Bushidō: The Soul of Japan, which, published in 1900 by Nitobe Inazō, translates the Samurai code of ethics for Western audience. In Nitobe’s account this code is divided into eight virtues, which are responsible for customs such as the tea ceremony and behaviour like tranquillity even in the face of danger. Referencing this ancient code, Hirst draws on the Western stylistic movements of Impressionism, Pointillism and Action Painting to explore the joy and beauty of Spring and new life while also suggesting their ephemerality.