A Standing Panel, Not a Flat Lid

The tall piece isn't a lid that closes flat, it's a standing semicircle that leans upright against the flat tray, debossed with a portrait and peony branches pressed into the surface rather than printed on. Because the relief sits recessed rather than raised, a finger across the surface finds shallow dips instead of a bump, with pink pigment reading slightly deeper inside those recessed lines where more surface catches shadow. The straight bottom edge keeps it stable resting against the tray.

Six Wells, Shallow and Staggered

The tray section holds six round wells in two staggered rows, each sized for a small gold-rimmed jar rather than a single large container, spacing them close enough that all six sit within the tray's footprint without touching. Well depth stays shallow, roughly a third of jar height, so each container sits upright rather than nested deep, leaving the lid visible above the tray surface. Wall thickness between adjacent wells stays even, avoiding a thin bridge that could crack under jar weight.

Matched Color, Separate Pieces

Pigment runs soft pink through the pulp fiber on both the tray and the standing panel, matched between the two pieces despite being molded separately, so color doesn't shift between the flat tray and upright display piece. A brand carton with printed Chinese text sits alongside this molded pulp supplement set as a separate paperboard piece, distinct from the pink pulp components, letting carton artwork change without affecting the pulp mold.