Curves softly illuminated by light. Their texture evokes the moment a flower blooms or fabric layered with supple grace, making you want to reach out and touch them. Lacquer artist Fumie Sasai explores “shapes you can’t help but want to touch,” creating unseen forms while conversing daily with lacquer.

Shapes Made of Lacquer That Invite Touch

In her home and studio in Mukō City, Kyoto Prefecture, the lacquer drying cabinet, the “lacquer room,” holds pieces with a mysterious presence. Soft, airy swells, or forms as plump and juicy as ripe fruit. Their surfaces catch the light with a moist luster, tempting you to bring your fingertips closer.

Sasai’s three-dimensional lacquer works are not completed with a single coat. By layering lacquer and polishing after each application, she refines subtle irregularities to create an even, uniform surface. Furthermore, lacquer only hardens in spaces with controlled temperature and humidity, requiring time for drying. Only through this repeated process, layered many times over, do these smooth textures and soft forms emerge.

“I decide the coating and form while imagining the sensation when touched,” explains Sasai’s creative approach. As he coats, polishes, and coats again, the lacquer’s thickness builds into volume, and the precision of the polishing creates smoothness. The forms nurtured bit by bit carry the layered time Sasai spent engaging with the lacquer, confirming its state with his fingertips.

He chose “works that won’t lose their form”

Sasai was born and raised in Yao City, Osaka Prefecture. Growing up in a working-class neighborhood with a father who was a company employee and a mother who was a homemaker, his family had no particular connection to the arts. He became drawn to the path of art in high school and went on to study at an art university in Kyoto.

“I painted in high school, but as I continued, I started thinking maybe I was better suited to creating forms within my hands rather than working on a flat surface. What about becoming a ceramicist? I jumped into an art university with the mindset of ‘Let’s just try it first.'”

Upon entering university, he first experienced dyeing, ceramics, and lacquerware. Among these, lacquer captured Sasai’s heart. “With ceramics, the pieces shrink when fired, which I found a bit sad,” he explains. Conversely, lacquer gains fullness and substance with each layer applied. He was drawn to how its expression changes with each application, allowing him to slowly decide the form while observing these transformations.

Forging a path no one has walked before, with my own hands

Having chosen lacquerware, Sasai initially envisioned a future crafting vessels in a workshop. Yet as she worked, she transcended the boundaries of vessel-making, pursuing forms that were true to her own sensibilities. Following her heart led her to lacquer objects—a medium where she could freely explore the shapes she loved.

At that time, the world of lacquer art was still dominated by practitioners working as “craftsmen” making vessels and Buddhist altarware. Precisely because of this, he reasoned that by deliberately pivoting into the realm of art, he could forge a new path where no one had ventured before. This realization became the major catalyst for steering his course toward becoming an artist and beginning to explore his own unique form of expression.

Dialogue with nature and people close at hand became the source of creation

Since encountering lacquer, Sasai has consistently engaged with “form.” This journey has also been one of continually seeking how to entrust the sensations arising in his heart to lacquer. His work reveals a core strength that enjoys time-consuming processes and steadfastly upholds his aesthetic sensibility.

Plump forms of life born from everyday observations

One of Sasai’s representative series is “Bilabdo.” Its rounded, soft forms evoke the appearance of infants and children—the period when humans receive the most affection—and inevitably bring a smile to the viewer’s face. These plump contours succinctly express Sasai’s theme of “forms you want to touch.”

Another representative series, “Sky Fish,” beautifully harmonizes the characteristic plump curves and overlapping ridges found in Sasai’s work.

These works share a common thread: they convey Sasai’s curiosity, focused on small, everyday observations and the nature close at hand. The freshness of a child’s skin, the suppleness of a fish swimming on the water’s surface. The charm of Sasai’s work lies in how these forms of life are expressed through the unique, deep texture of lacquer.

Time spent with students fuels creative energy

Alongside his own artistic practice, Sasai has served as a professor at Kyoto City University of Arts, teaching students the creation of three-dimensional lacquer works. He finds the time spent interacting with the younger generation at the university to be a significant stimulus for himself. “If I had devoted myself solely to creating, I might have hit a wall. Interacting with the students provides balance and gives me energy.”

Dialogue with the younger generation broadens his perspective, enriching Sasai’s creative process.

A new world opened through collaboration

“Collaborations” with artists from different fields have also been a major catalyst for expanding Sasai’s expressive range. Encountering materials and approaches entirely different from lacquer has given birth to new possibilities.

A prime example is the collaborative work “Boat of the Sun” with bamboo craftsman Tanabe Chikunsa IV.While Sasai used blue lacquer to express the sun floating on the sea surface with a sharp, circular form, Tanabe wove bundles of bamboo into the blue ring, capturing the moment sunlight spreads across the ocean. The fusion of lacquer’s sharp lines and bamboo’s softness creates a new charm in craftsmanship.

The collaborative work “Glass Fish” with kirikane glass artist Akane Yamamoto is another piece where the two artists’ individualities merge.”Kirikane glass” is a technique original to Yamamoto Akane, where patterns are drawn using thin, thread-like strips of gold leaf, which are then sealed within molten glass. Inspired by the glass eyes Yamamoto creates, Sasai gave birth to a vivid blue fish that seems to leap across the water’s surface.

“Through collaborations with various craftspeople, I’ve seen worlds I never could have reached working alone. Of course, it benefits me personally, and I can pass it on to my students, so I believe it’s creating double or triple the positive impact.” These collaborations with diverse artists also became an opportunity for Sasai to unravel the unconscious assumptions she had unknowingly formed about “how lacquer should be.”

Freer, farther. Believing in the potential of lacquer.

Sasai’s works have been exhibited in museums, solo shows, and various themed exhibitions. Additionally, her pieces are permanently displayed as part of the artwork collection at The Ritz-Carlton Kyoto. It’s a special space where visitors can encounter her creations during their stay or dining experience.

In recent years, his new challenges showcased in the 2024 solo exhibition “Gentle Breeze, Sudden Thunder” were recognized, earning him the Minister of Education, Culture, Sports, Science and Technology New Artist Award in the Fine Arts category at the 75th Arts Selection Awards. Furthermore, he will realize his first solo exhibition in the United States in the summer of 2025, significantly expanding his creative horizons.

“I truly believe Japanese crafts possess exceptional quality. That’s precisely why increasing opportunities for more people to see them should spark greater interest overseas. In fact, international visitors do come to see my work, and I believe the potential is immense.”

In 2026, an exhibition introducing Japanese lacquer art is scheduled at the Victoria and Albert Museum in London, UK, and Sasai’s work has been selected for display. As an individual artist, she stands at the gateway to introducing Japanese craft to the world. Her determination and hope for the future were palpable in her words.

What new encounters will come next, and what new expressions will emerge? The works born from these encounters will surely stir our hearts once again.

The post What I seek is “a form that invites touch.” Lacquer artist Fumie Sasai, who shapes the tactile essence of life / Mukō City, Kyoto Prefecture first appeared on NIHONMONO.

The Kawada district of Sabae City, Fukui Prefecture, is said to be the oldest lacquerware production area in Japan.
The long-established company, Ururindo, has been in this area for eight generations since the Edo period.
While carrying on the traditions, the company develops and offers products that meet the needs of modern life with the idea of “making lacquerware more easily accessible for everyday use.

The company proposes dishes that are a part of daily life, such as dishwasher-safe, hand-lacquered lacquerware.

Echizen lacquerware, produced in the Kawada district in the eastern part of Sabae City, located near the center of Fukui Prefecture, has long held an approximately 80% share of the domestic commercial lacquerware market. However, the industry has been shrinking due to the diversification of eating habits and the spread of inexpensive plastic tableware. Against this backdrop, Lacquyurindo branded itself and produced lacquerware suited to the modern age. The company’s colorful and functional dishwasher-safe dishes have attracted attention from around the world, and have rewritten the history of lacquerware.

Kawada area specializes in lacquerware for commercial use.

Echizen lacquerware was designated by the national government as a traditional craft in 1975. The Kawada district is located in the center of Fukui Prefecture, in the eastern part of Sabae City, known for its eyeglasses, and in a quiet basin separated by a mountain from the Ichijodani Asakura clan ruins, which are famous as a historical war site. The entire region is involved in the production of lacquerware, and each of the craftsmen involved in the process of making lacquerware, including the woodworker, the basemaker, the lacquerer, and the maki-e artist, have their own workshops where they work hard at their specialized fields of study.

At its peak, the company accounted for approximately 80% of the domestic market share of commercial lacquerware for inns and restaurants.

According to one theory, Kawada lacquerware has a history of more than 1,500 years. It is said that the history of Kawawada lacquerware dates back to the re-painting of the broken crown of Emperor Keita, and since then, the company has grown to account for about 80% of the domestic share of commercial lacquerware used at inns and restaurants.

A professional group of “lacquer scrapers” was also born, who went to work throughout the country to collect lacquer solution, and they influenced the lacquer industry in various regions by popularizing iron knives for scratching lacquer. In Kawawada, not only individual craftsmen, but also companies that handle all aspects of the lacquer industry have grown. One of these companies, Ururindo, is a long-established lacquerware manufacturer that has been in business for more than 200 years, since 1793.

Times are changing, and areas of expertise are blocking the future.

Kawawada, a lacquerware production center, specializes in making-to-order products that respond flexibly to clients’ requirements. The company captured the commercial lacquerware market mainly for inns and restaurants, thanks to its durability to withstand hard use, the price range demanded by clients, and the practicality of its ability to mass produce. After the end of the bubble economy, however, needs for lacquerware declined sharply due to competition from inexpensive overseas products, the rise of plastic products, changes in eating habits, and the diversification of tableware. The industry was shrinking day by day, and the production centers were faced with the problem.

The heirs of long-established businesses focused on the high hurdles that only a production center can overcome.

Lacquerware production and sales have been run by a family business centered on the lacquerware shop business, and “Ururindo” was one of the companies that were troubled by sluggish sales. However, while Kawada was struggling to keep up with the rapid changes of the times, Toru Uchida, who was in his early 20s, decided to take over the family business.

In his youth, he was obsessed with baseball and went on to study physical education at a university outside of the prefecture. People around him had high expectations for his large hands that firmly grasped the ball, which were suitable for a painter. Knowing the state of the industry, he could not make up his mind to take over the family business even before graduating from college, but lacquerware was on his mind during his job search. When I visited an interior design company, I wondered if my family’s lacquerware could be displayed there,” he said.

Determination to “take on the responsibility of the production area

I was aware of the nature of the problems in the production area, but I was also aware that it was difficult to sell lacquerware. As he realized the true nature of the problems facing the production area, Mr. Uchida decided to live in the world of lacquerware. When he returned to his hometown as a student, he saw his grandfather, father, and family working with sincerity. He decided that if he was going to take over the family business someday, he wanted to use the time he spent working at other companies and taking side trips to train in the art of lacquering. As soon as he returned home, he began learning the techniques of lacquering from his grandfather and father.

Launching new brands one after another to repaint the traditional beauty of Echizen lacquerware

Although he learned the techniques handed down in his family from generation to generation and started his career as a lacquerware master, the industry itself lacked vigor, and company sales were declining. The theory behind commercial-use lacquerware is that it should be made in specific sizes for specific purposes, such as for soup bowls, simmered dish bowls, and stopper bowls, and that it should be decorated with seasonal and glittering maki-e lacquerware. The bowls were not sold to the general public because they were a little too flashy and difficult to use for home use. In the course of receiving a large number of orders, he came to believe that if he only handled one of the processes of making lacquerware as a craftsman, he would not be able to understand the needs and satisfaction of the people who use his lacquerware and would not be able to convey the ingenuity and feeling he had put into his work.

What kind of vessels are needed by ordinary users in the world today? Without determining this, there is no way for a production center to make a living. Mr. Uchida began to produce a brand of lacquerware for individuals under the name of Ururindo, and he personally participated in exhibitions and sales at department stores, which was rare for a lacquerware production center at that time.

Lacquerware itself is used as interior decoration. AISOMO COSOMO

The next step Mr. Uchida took was to entrust the production of his own products to a professional. He asked Hirotoshi Maruwaka, a product producer at Maruwakaya, who was known for proposing a new kind of manufacturing by connecting traditional Japanese craftsmanship and the latest technology. The series, which added a playful touch of color to the concept of “familiarity,” made its debut as aisomo cosomo, a line of interior goods. He immediately had them placed in the stores of a large museum outside of the prefecture, but at first they were not even looked at. After a year, however, the series was exhibited at the “Dainippon Ichiba” (Dai Nippon Ichiba), an event organized by Nakagawa Masashichi Shoten, a company that has been developing and manufacturing products based on the vision of “revitalizing traditional Japanese crafts,” and was picked up by major department stores and national-class boutiques one after another.

While daring to move away from the image of luxury that lacquerware has, the quality and traditional techniques of lacquerware can still be felt, making it easy for anyone to pick up and use. Blue, red, yellow. The colorful yet deep colors that somehow fit in with Japan are used in the bi-colors. The shapes and sizes are also carefully selected, including soup bowls, rice bowls, small bowls, chopsticks, trays, and festive plates. The price range is from 2,000 yen to 9,000 yen, making the products accessible to the younger generation. As a long-established company that has focused on lacquering, we were able to create a variety of colors. The atmosphere of being able to use them as interior decorations may have appealed to people with a high level of sensitivity.

Although it takes a large number to develop a brand nationwide, the fact that Ururindo originally had a system in place for medium-volume production led to a winning formula. The company was able to achieve mass production while maintaining high quality. The new lacquerware caught the attention of many people, and the company was invited to participate in exhibitions in Germany, Taiwan, and other foreign countries. In 2012, Mr. Uchida became the youngest person in Fukui Prefecture to be certified as a traditional craftsman at the age of 35.

Dishwasher-safe and easy to clean [RIN&CO.

What further surprised the industry was Mr. Uchida’s announcement in 2020 of “RIN&CO.,” a line of lacquerware that is dishwasher-safe. Lacquer is the world’s finest natural paint. It is said that lacquer becomes hardest 100 years after it is applied. I thought that today’s lacquerware does not bring out its full potential. Usually, the lacquer solution purchased from wholesalers is mixed with chemicals to make it easier to apply. Mr. Uchida researched the blending and processing of lacquer solution in cooperation with Fukui Prefecture and the University of Fukui, and developed “Echizen kata urushi,” a hard coating film that can withstand dishwashing machines. The company also reviewed the wooden base and improved it to make it sturdier and more resistant to cracks and distortion by applying the technique used for commercial lacquerware, in which resin is soaked into wood powder and molded into the surface.

Using the colors we see in our daily lives as vessels

Again, the coloring of the vessels was a particular concern. Hundreds of color patterns were created based on the weather and climate of Hokuriku, and Mr. Manabu Mizuno, known for his “Kumamon” design, was asked to supervise the project. The color is almost gray-blue, which represents the winter sky of Fukui. Navy gray, reminiscent of the rough waves of the Sea of Japan. The light red gradation that colors the horizon at dusk. My father was very opposed to the idea. Cooking experts were very critical of the cold colors, saying that they would decrease one’s appetite,” says Uchida. But when I opened the lid, it was very well received,” says Uchida. The coloring makes you want to place them not only for meals but also in your daily life, and the scenery of the dishes tells us that people’s lives are seasonal. Lacquerware has excellent heat retention properties, so if you serve rice on it, it will not easily get cold and you can enjoy the freshly cooked hotness of the rice.

The “Hakeme technique,” in which the brush marks are left on the surface of the rice, was adopted as a unique coating technique. This technique requires a high level of skill because the paint cannot be repainted, but it creates a pattern that is unique in the world. Scratches are not noticeable. Only the black vessels use the “Shin-nuri-technique,” which leaves no brushstrokes, for a luxurious finish. The matte texture of each piece has been achieved by eliminating the luster. Modern houses are brightly lit, with lighting reaching every corner. If you use glossy dishes, they would look too shiny. The slightly smaller size is calculated to make people want to buy the vessels with the impulse of “kawaii” (cute).

To create a corporate environment where young people want to work.

From a cozy family-run business, Ururindo has increased its staff while expanding production year by year, and now has 12 employees. The reason why there are so many young people is because of the company’s desire to nurture young people who will remain in the production area. Rimindo says, “We actively accept not only art college graduates and those who have studied crafts, but also staff who want to become artisans from the ground up. When the ages of the makers and users are close, I think we can better understand what is needed to make traditional lacquerware resonate with young people,” he says.

In 2021, the company also launched a new line of lacquerware with an updated traditional form that is dishwasher-safe. 100% natural lacquerware can be expected to have antibacterial properties and can be repaired by kintsugi, a process that involves metal splicing. The luxurious, traditional lacquerware is also in high demand as gifts. Lacquer trees grow wild in many Asian countries, but in none of them is lacquerware an industry at all. With crafts in decline worldwide, Ururindo has opened a new avenue of activity for traditional crafts. Naturally, many similar products are being made, but Mr. Uchida is confident that this is proof of the success of his own brand. He says, “I would rather be the imitator than the imitated. Together with the next generation of craftspeople, Uchida will continue to rewrite the history of lacquerware by discovering needs that meet new values.

The dishwasher-safe lacquerware born from customer feedback is made of Echizen hard lacquer, a 100% natural lacquer coating developed through an industry-academia-government collaboration with Fukui Prefecture and the University of Fukui. We hope you will become familiar with this lacquerware for daily use.

The post Rewriting the history of lacquerware with colors and practicality suited to modern life. Toru Uchida, the 8th generation of the lacquer shop “Ururindo” / Sabae City, Fukui Prefecture first appeared on NIHONMONO.

What is “Sendai tansu”

”Sendai tansu” is said to be have started in the late Edo period. It developed as a local industry of the Sendai clan. ”Tansu” was used by ”samurai” to store swords or clothing. A typical ”tansu” is approximately 120cm wide and 90cm tall, but nowadays, tansu of various sizes are produced due to customer demand.
While the ”tansu” is actually not very big, it is magnificent and has a strong presence. Woodworking joints that takes advantage of the characteristics of the wood, lacquering to enhance the beautiful grain of the wood, and above all, the hand embossed metal fittings with motifs of dragons and lions; these elements are what catches the eye.
”These metal fittings are handmade by artisans, and they represent the social status or lineage of each family”, explained Kazuhiro Monma, the seventh generation of Monma Tansuten which creates ”Sendai tansu”.

A showroom that is designated a Cultural Property

Monma Tansuten was founded in 1872 by Tamisaburo Monma, who was the appointed craftsman for the Sendai clan, and has a history of over 140 years. The company has its own lacquer craftsmen and joiners, and produces and sells ”tansu” on-site.
The former family house which was used until two generations ago, is now used as a showroom so people can see how Sendai ”tansu” can be used in everyday life. The house is designated a National Cultural Property.

”Sendai tansu” used to often be a part of dowry or a trousseau.
”But you don’t hear about dowries, nowadays.” Nakata commented.
”That’s true. But many people still use ”tansu”. Recently, smaller sized ”tansu” is popular. And we often get orders to repair older ones.”
Some ”tansu” have been used for more than 100 years. The surface of old ”tansu” is shaved and re-lacquered, making it beautiful and shiny just like new. Looking ahead to the next 100 years, Monma Tnasuten is recruiting and training young craftsmen.

30 steps in lacquering

As previously mentioned, one of the beautiful features of ”Sendai tansu” is the lacquering. Presently, there are various ways ”tansu” is lacquered based on the customer’s wishes, but traditional ”Sendai tansu” uses ”kijiro-nuri” method, which enhances the beauty of the grain of the wood. There are about 30 steps in this process. Painting, sanding and polishing. All 30 steps require delicate work. And ”tansu” is very big. Everything is done by hand, so the lacquer painting alone takes months. The customers are aware of this, and they are willing to wait when ordering a ”Sendai tansu”.

In the workshop, we observed the repairing process. The scarred or damaged surface is shaved clean, and the lacquer applied. Lacquer is applied many times, and then the lacquered surface is sanded and polished. It is very delicate work, and everything changes depending on the finish.
”Sendai tansu is intended to be used for 50 or even 100 years.” says Monma. He is carrying on a tradition which has 140 years of history since its foundation.

But it doesn’t end there. Monma Tansuten is releasing a series of new products with the present lifestyle and future in mind. They are taking on new challenges to create new products such as wine racks and modern furniture in collaboration with designers, using 140 years of craftsmanship. Tradition is truly passed on when its actually used in modern life.

The post “Monma Tansuten” – Sendai “tansu” loved by the “samurai” of the Sendai clan first appeared on NIHONMONO.

Naruko lacquerware with 400 years of history

Naruko lacquerware is a specialty of the former town of Naruko-machi (now Osaki-shi) in Miyagi Prefecture. It is said to have originated in the early Edo period, during the years of Kanei (1624 – 1643). That means it has nearly 400 years of history.
In order to promote Naruko lacquerware, the third lord of Iwadeyama clan, Toshichika Date, sent a lacquerer and a gold lacquer master to Kyoto for training. Naruko lacquerware began to flourish there, continuing to this day.
One of the major characteristics of Naruko lacquerware is how the lacquer is painted. There are various techniques such as ”kijiro-nuri” that brings out the beauty of the grain of the wood, ”fukiurushi-nuri” that repeats the process of painting and wiping colorless lacquer in order to enhance the pattern on the surface of the wood, ”benitame-nuri” that paints colorless lacquer over a layer of red lacquer. Then there is a technique unique to Naruko, ”ryumon-nuri” which creates marble patterned lacquer. All of these lacquerware have a simple beauty which is compatible with daily life.

What he brought back from training in Akita

Tsuneo Goto was born in a family of craftsmen who have long played an important role in Naruko lacquerware, and he himself has been making lacquerware for a long time. In his teens, he became an apprentice at a lacquerware workshop in Akita, where he learned various techniques, about 50 in total. Goto showed us the first piece he made during his apprenticeship. A large plate with patterns of plants using egg shells.
”I will never sell it, even if I become very poor.” he said as he handled the plate lovingly.
After his apprenticeship, he began his career as a Naruko lacquerware craftsman, and he says his experience in Akita was very valuable, because of the many techniques he acquired, in addition to the techniques of Naruko lacquerware.

Tradition and beyond

Needless to say, Goto is a Naruko lacquerware specialist, but he is also able to use many different techniques. Goto ushered us into his workshop and showed us many pieces of his work. There, a vermillion tray of a deep hue with black lacquer showing through caught Nakata’s eyes. On the surface, it is was decorated with delicate lines created by painting the lacquer in many layers then sanded.
”I got the image from the rings of Jupiter”
”I see. Now they are all the same size, but may be if you have plates of the same design in different sizes, they may look pretty when they are stacked and you can see the lines from above.” Nakata shares an idea that came to mind. Goto answered ”Yes, yes! That sounds interesting. Maybe I’ll make that next time.” He took interest in Nakata’s idea.
”You see, it’s interesting to hear other people’s ideas. There is a limit to what one can come up with. That’s the kind of work I want to make.”
He listens seriously to ideas that Nakata just happened to think of. And says ”I may make that next time.” This flexibility of the mind may be the driving force to pass on the tradition of Naruko lacquerware to the next generation.

The post Lacquerware in daily life “Naruko Lacquerware – Tsuneo Goto”　 first appeared on NIHONMONO.

What is Sendai “tsuishu”?

”Tsuishu” is a form of Japanese lacquer craft, but it is different from the standard form where lacquer is painted and polished on wood. ”Tsuishu” is made by painting dozens to hundreds of layers of red lacquer, creating a base of multiple layers of lacquer, which is then carved and polished. In other words, it is a form of engraving the many many layers of lacquer. This technique called ”chousitu” came from China between the Kamakura period and Muromachi period.

However, Sendai ”tsuishu” is a little different from ”chousitu”. Sendai tsuishu is made by engraving the base wood then painting red lacquer over the engraving and polishing it. Painting lacquer on the engraved wood requires very delicate technique, especially when painting the very fine lines.
”Painting is hard work, but the polishing is more so.” said Kazunori Minami , Sendai tsuishu artist.

The things an ordinary craftsman wouldn’t do.

Minami is the only Sendai tsuishu remaining. He carries on the tradition but at the same time, he takes on new challenges and new designs, and he won the Good Design Award 2011.

As we were shown around the workshop, what impressed us was a vessel with a maple leaf tree engraving. It was a transparent vessel made from layers of lacquer, and the leaf looked as if it were floating.
”I don’t think anyone else would make such a thing.” said Minami.
This technique called ”tsuitou” requires days and days of work to achieve the necessary thickness by painting layer after layer of lacquer. It is something that ”you must be crazy to do”. Nakata was very surprised to hear that.
And there were more surprises. ”You know, lacquer ware can become soft and disfigured.” We couldn’t quite grasp his meaning, but then he brought a bucket of hot water, and put the maple leaf vessel in it. After a while, he took it out, and indeed, it was soft and disfigured.
”But after a while, when it is dry, it resumes its original shape. Shape memory.”

Since we think of lacquer to be a hard material once it is dried, its beyond the imagination. ”Even among people who work with lacquer, this characteristic may not be known.” said Minami. Having an inquisitive mind is probably one of the factors adding a fresh twist to the tradition.
Photo bottom right: provided by the Department of Protection of Cultural Properties, Miyagi Prefecture

Polishing brings out the many colors

Sendai tsuishu is painting lacquer on a base that is intricately engraved, so it is very delicate work. It then has to be ground and polished. ”The polishing part is the hardest.” said Minami.
We were invited to give it a try in his workshop. Nakata experienced polishing with sandpaper. Lacquer of many different colors are painted layers upon layers, and when polished with sandpaper, green, yellow, blue and other colors appeared. In some spots, it appeared in gradation. In others, a totally different color appeared. Nakata became so engrossed with the work that he lost all track of time. Minami told us that he sometimes visits elementary and junior high schools to give students a try, and they too become fully engrossed.
Inheriting tradition, but not bound by tradition. This is how Minami, the only remaining Sendai tsuishu artist, continues to create something new every day.

The post Expanding the range of expression by layering and polishing lacquer – “Sendai Tsuishu Artist Kazunori Minami” first appeared on NIHONMONO.

Aizu tradition, lacquerware

We interviewed lacquer artist Tatsuo Sato who works in Kitakata City, Fukushima Prefecture. Kitakata City is renowned for Aizu lacquerware. Aizu lacquerware has a long history and is popular around the nation with its high quality wood from the wilderness of Aizu, and the beautiful luster from the lacquer created in the climate unique to the basin landscape.
Aizu lacquerware developed mainly around round vessels such as bowls. Since his father’s generation, Sato not only paints, but also creates the wooden base using a potter’s wheel, to make original lacquer pieces.

Passing on to the younger generation.

“We got to see Sato’s work. His work is wide range from a round ware such as a bowl to a ”jubako”. As colors such as jet black, vermilion, yellow, green, and gold overlap and mix together, luster unique to lacquer and decorations on golden lacquer work and mother-of-pearl work matches excellently, creating a unique worldview. Receiving numerous awards serves as the proof for the popularity of his work and his ability. However, while listening to his story, I felt his warm look towards lacquerware as a whole, rather than just his work.

”Of course I intend to continue producing, but when I look to my past and think what role do I have, I think it is to hand down the technique to young people.”
He told us it is not only about handing down the technology but also about having lacquerware in everyday life. “

To have lacquerware in our daily lives

Sato told us ”I treasure my activity as an artist, but originally, we are bowl makers. That remains in my soul. So it makes me sad that lacquerware is disappearing from people’s everyday lives.”. Hearing this, Nakata reflected on his travels, and commented ”That is true. We tend to think of lacquerware as something extravagant. But after speaking with many artists, I’ve come to realize that it’s really something to be used in everyday life. Even if it gets chipped, it can be repaired. You can use ”kintsugi” or gold joining. Once people are aware of this, I think more people would want to use them on a regular basis.”
”That’s right. Beautiful dishware and delicious meals are not separate things. I would like people to eat delicious meals using beautiful lacquerware. That is my wish.” Sato added.
In Kitakata City, many schools currently use lacquerware for school lunches. If children grow up using beautiful plates when eating good tasting food, they will grow up with a better appreciation for and greater familiarity with traditional ”kogei”. They also began planting sumac (lacquer) trees 25 years ago. Although they are still only able to use those trees in small amounts, it is an important foundation to pass on the tradition of Aizu lacquerware.

The post Lacquerware that adds color to the meal “Lacquer artist Tatsuo Sato” first appeared on NIHONMONO.

Lacquerware Artist who Once Aspired to be a Painter

Kiyoshi Torige is famous for his skills in “Chingin lacquerware”. “Chingin” is a technique where pictures are filtered out on lacquered surfaces by gold powder that are rubbed into engraved scars made by special knives called ”Chingin knives”. His works are picturesque, with motion captured in sensitive lines. Many pieces depict dragonflies, rabbits, small birds, flowers and plants.
His works show off his talents, showing signs of how he once aspired to become an artist.
Back in high school, hearing that a new school for art had opened, he applied right away, later to learn that the school specialized in Wajima lacquerware.
“I didn’t understand why we had to practice drawing on 3-dimensional figures. Above anything, lacquer is such much labor. It was hard. But soon I picked up how to be in tune with lacquer, instead of trying to rule over it. Oil painting and sculpture are types of art that has a lot to do with the artist’s intention. With lacquerware, it’s more a matter of the artist’s attitude and demeanor.”

Reflecting the tension of the process

After graduation, Torige continued to brush up his Chingin skills by visiting Living National Treasure, Fumio Mae on a regular basis. Wajima lacquer is said to be a good match with Chingin with its thick coating. Although we only have 1 word for lacquerware, there are actually various types according to the region. He studied each of their features, and also assisted in restoring Okinawa lacquerware making tools. All these experiences are reflected in his works.
“Chingin is a one time thing. There is no second chance so you need determination to start.” He does not do rough sketches.
“I take pleasure in the tension. When engraving, the work is tedious and takes time. If I have a rough sketch, it will give me a sense of false reassurance, and that can cause me to make a mistake.” The dignity that you can sense through his works comes from his attitude towards his creations.

It shouldn’t be valued just because it’s lacquerware

We all have preconceptions of words like “lacquerware” and “traditional craft”. However, Torige said “I don’t want people to think this must be good because it’s traditional.”
“Instead it has to be beautiful at first glance. The design must be appealing. It must make people want to gaze at it every day, wanting to display it all the time.”
It also has to match the modern times. And he showed us a picture book made with ”Chingin” lacquer. Colorful picture books with gentle mild colors may be nice, but a picture book all in black and gold is majestic, and represents a world of fantasy.
“It is important to plant the seeds like this into the modern times. Children will see this peculiar picture book, which will stimulate their curiosity. Then, I will tell them “It’s lacquer.” No complicated lecture about tradition. It’s our culture, so it needs to be conveyed with positive vibes. Otherwise it’s not going to come across.”

”I want to compete in the world I live in now.” That is how he explained his challenge.

The post “Lacquerware Artist, Kiyoshi Torige” Culture is Something to Enjoy first appeared on NIHONMONO.

“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.

The post “Lacquer Artist, Kazumi Murose” The Depth of Lacquer first appeared on NIHONMONO.

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.

The post Lacquer ware artist, Kagari Miyoshi – Using lacquer and mother-of pearl to illustrate night scenes first appeared on NIHONMONO.

Usage changing over time

”Kamakura-bori” is an artistic handicraft that has been passed on in Kamakura from long ago. Various beauties of nature is carved into the object, then lacquered in several layers, the top layer finished with red lacquer. Nowadays, we see ”Kamakura-bori” in everyday life such as trays, cake boxes, and tea-things. Yet, ”Kamakura-bori” was applied to living ware only since the Meiji era.
”Kamakura-bori” was originally introduced from China with Zen Buddhism during Kamakura era. Influenced by the red and black lacquer work from China, sculptors of Buddhist statues and carpenters specializing in temple and shrine construction began to carve wooden objects and apply lacquer on them. Lacquer work was applied on the structures of the temple, the dais, and the ”kobo.” In other words, anything and everything regarding Buddhism was carved. The primary characteristic of ”Kamakura-bori” is its origin. During Muromachi era, tea ceremony became very popular and tea things in ”Kamakura-bori” also became popular. From Meiji-era onward, ”Kamakura-bori” begin to be applied on living ware.

Made by experts

We visited Hakkodo who have been sculptors of Buddhist statues for many generations. They are an establishment of long standing who put effort into creating ”Kamakura-bori” pieces since Meiji era and even have exhibited their works at Exposition Universelle in 1889.
We visited their workshop. All the processes, such as carving, coating, and polishing are done by division of labor. There are basically seven stages of which each stage is handled by an expert. Nakata tried the first stage, ”carving”. He tried to carve the rough sketch at the center of the tray but the wood is too hard for him to carve. The knife did not move like Nakata wanted it to, unlike the craftsman who was vigorously carving out the wood. This experience was enough for Nakata to sense the intense atmosphere of how the craftsmen works with the material, and why he is the expert craftsman.
It has been 800 years since the Kamakura era. ”Kamakura-bori” was first created as items related to Buddhism culture, and now they are used as everyday utensils. Its history is supported by the longstanding artisanship of the craftsmen.

The post Kamakurabori Hakkodo – Bringing Buddhist culture into everyday life first appeared on NIHONMONO.