“Adjusting to Show Just Enough”

We spoke with Kazumi Murose, a holder of Important Intangible Cultural Asset of lacquer craft in the field of ”makie”. Murose specializes in the technique, ”kenshutsu makie”. It is the skill of drawing a motif on a lacquer-laid foundation with silver and gold powder or dried colored lacquer powder, before it becomes dry. After the lacquer solidifies, another coat of lacquer is applied and allowed to harden, which is then sanded down and polished so that the motif buried underneath appears on the surface. In order to produce the desired effect, you must know exactly how much of the multiple layers of gold and lacquer should be shaved. Murose creates a 3 dimensional effect through this process.
We studied a box with a picture of a swimming prawn, using the makie technique. It was a vivid, life-like 3 dimensional picture, with different tints; strong gold, shown with a large amount of gold powder, and dark amber from the lacquer which showed less gold. Nakata seemed completely drawn in by its profound colors, and commented, ”Both the colors of the gold and the lacquer are beautiful.” Murose explained, ”Many of the older ”makie” pieces are flat with a one-dimensional look. The 3 dimensional effects are the modern style of ”makie”.”

The breadth of Japanese expression

Nakata explained the mission of his journey, ”There are so many people in Japan that work in the field of art or that are involved in ”kogei”. So I end up having to visit many people.” Murose replied, ”That is the strongest feature of our country, Japan.”
”Take one field, lacquer for instance. Japan has a wide genre, from lacquer for daily use to lacquer as artistic objects. Either purpose requires delicate skill. That is why so many interesting objects are created. Some are used for daily use while others are works of art, dedicated to shrines. Unless there is a variety, you cannot express all the undulating emotions of humans.”
Murose also does research work regarding old techniques, and helps to restore cultural property. There are many discoveries during the restoration process, where techniques not known in modern times are discovered. He told us that he started his research for cultural properties by recommendation from one of his teachers.
”He told me to restore them for the people from 300 or 400 years ago, as they are probably disappointed. Those words enlightened me, because I imagined how I would want my work to be restored if any of them were damaged. I would also feel disappointed if they weren’t. I now understand what he meant.”
Learning about the skills and thinking about the feelings of people of the past through older works. Based on this experience, new ”makie” expressions are sought with modern style. That is how Murose’s works of art are created.

Eating from a Lacquered Bowl

Murose asked us, ”You know the word, ”wan” don’t you?”
”Wan” as in ”茶碗 chawan” or bowl?”
”Yes, when you write the word ”茶碗 chawan” you use the Chinese character stone on the left, because it is ceramic. You pour hot tea in it, and it cools quickly, thus ceramics is the best fit.”
”Oh, now I get it. When you use the word ”椀 wan ” for rice, the character on the left is wood!”
”Yes, that’s right. We used to eat rice from a wooden bowl. Wooden bowls were adequate as the rice didn’t cool and if the bowl was lacquered, it prevented it from getting damp. You don’t have to eat rice in a rush because the wood keeps it warm and tasty.”
While we tend to eat rice using ceramic bowls, wooden bowls are actually a better choice.
”I want you to give it a try. Eat rice from a wooden bowl, a lacquered one. It will keep the rice nice and warm, and it will allow you to enjoy meal time conversations.” Murose told us. This had never come to mind even though it makes sense considering the materials and their features. Cultural history never ceases to amaze.

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Night view surfacing on lacquer work

Lacquer work artist, Miyoshi’s encounter with lacquer work was by chance. Her arts club teacher in high school was a lacquer work instructor. She makes a variety of pieces such as vessels, boxes, and cups; all of which are applied with gold lacquer. Scenes of a city appear on the background of black lacquer. A light illuminating a window, headlights of a car. These lights are expressed with gold lacquer. Gold lacquer glitters, and it becomes even brighter when in layers with the opaque coloring of lacquer.
”When I first came upon the gold lacquer technique, I was inspired with its potential. If I can use all these colors, I felt I should give it a try. In those days I used to go out for drinks, so the night view naturally became the motif.” she laughed and told us how the night view came to be the motif for her work.

Illustrating various motifs

Miyoshi projects various things other than night views on her work. At the time of the interview she was working on her pieces for a exhibition. The motif she was working on was ”Shimacho”. ”Shimacho” is a sample book of ”kimono” patterns from the old days with actual pieces of fabric pasted on it. She illustrated the sample book with lacquer and gold lacquer.
”Where do you get inspiration for the motifs?” asked Nakata. ”Whatever I find interesting, I store it in little compartments in my mind. Not just the scenery, but things like movies, too. I pull them out later and try it on my work.”
She uses things like music for her motif. She herself is familiar with music as she sings Gregorian chants. She has gilded musical notes and musical instruments in gold lacquer. Various motif are introduced into her lacquer work, and it gives her work a certain mystical atmosphere. It is a representation of how she was inspired by the item or event.

New appeal of collaboration

”I want to give you something,” said Miyoshi as she handed Nakata a sommelier knife. The handle was decorated with lacquer and gold lacquer. ”Wow, this is great!” exclaimed Nakata. This piece was a collaboration with Keiji Onizuka, a metal worker. Miyoshi showed us other pieces she collaborated with artists who use different materials. A small box she was planning on exhibiting at Higashi-Nihon Dento Kogei Exhibition. It was already very beautiful with a night view illustrated in gold lacquer inside the box, but Miyoshi showed us a glass lid. When she covered the box with the lid, it seemed like light shone from within, giving it a completely different side to it.
The lid was created by Akira Shirahata, a glass artist in Saitama. At first, the lid was just simple cut glass but Shirahata volunteered to cut the glass. He cut out the glass to bring out little rays of light creating a beautiful collaboration.
Small discoveries ignite Miyoshi’s imagination that are represented in her creative activities, and the resulting pieces are something to look forward to.

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Shiny, gold lacquered geta “Suruga nurigeta”

A ”geta” makes a very refreshing sound. There are various kinds of ”geta” made of raw wood and those painted with lacquer, but the ”geta” from Shizuoka are glittery with gold lacquer painted on a lacquer base.
This type of ”geta” is called ”Suruga nurigeta”, and it is said that it got its start when a ”geta” craftsman named Hisajiro Honma painted over the common geta in the early Meiji era. Lacquer ware production was already popular in Shizuoka, so that technique was used, and it became well known nationwide. The reputation has grown and has become so popular that Shizuoka has become synonymous with Suruga nurigeta.
Seijiro Sano whom we met with, is a Suruga Nurigeta craftsmen. After he graduated from high school, he became an apprentice as a painter at his uncle’s workshop, and after that he became a nurigeta craftsman which was his family business. Recognized for their finely tuned skills, especially the Koga carving which involves carving and painting, and the gold inlay carving, their work has received high praise, earning them many awards.

It is chic to show a little heel

According to Sano, ”During the 20s and 30s of the Showa era, nearly one third of the people in Shizuoka City had jobs related to ”geta”.” However, in present days, there are only 5 ”geta” craftsmen. Sano would would like to somehow pass on the technology, so he is also active as the chairman of Shizuoka Nurigeata Industrial Association.

Sano asked Nakata’s shoe size.
”How about these?” He handed Nakata a pair of ”geta”. When Nakata tried it on, his heel stuck out a bit.
”Is this right?” Nakata asked, and Sano answered. ”Yes. Once the straps adjust, your feet will fit further back in the ”geta”.”
Besides, it is chic to wear them with your heel sticking out just a little.” Sano told us.
Certainly when he stands, Nakata’s back straightens.
Japanese chic. There are still many things we don’t yet know.

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