Domestic lacquer that can be collected only once in 10 years

“We tap lacquer for only 1 year after allowing the tree to grow for 10 years. The tree is then cut down. This process is called ‘koroshi kaki (killing tap)’ and is essential in collecting the highest quality of lacquer. In other countries, they tap for up to 3 years, but in Japan, we only tap for 1 year and do our best to collect the very best quality lacquer.” We spoke with Mr. Yuzo Tobita, master lacquer tapper who was been a lacquer tapper for 66 years, earning him the Yellow Ribbon Medal.
“Lacquer tapping” is the process of tapping the sap that is used for lacquer in Japanese lacquer art and woodcraft.
The word “tapping” comes from the metal tool that is used to scrape the trunk of the tree.

Lacquer is highly resistant to bacteria and sturdy, making it ideal for craftwork, as well as architecture and daily items. Japanese lacquer work has a great reputation overseas, not only as a coating but as a design. Because the technique is so intricate, lacquer work is sometimes referred to as “japan”, a sign that it is symbolic of Japanese craftsmanship. Daigo city in Ibaraki prefecture is known for its abundance of nature. It is also known for top quality lacquer. Ibaraki ranks second in lacquer production, and the bulk is from Daigo city. There are about 10,000 lacquer trees in the city where Mr. Tobita and fellow members of the Daigo Lacquer Preservation Group continue their efforts to preserve the culture.

Can’t waste even a drop

We visited an area with about 2000 lacquer trees. Only about 200 of these trees are tapped each year. Nakata follows Mr. Tobita’s instructions to try tapping using a tool shaped like a knife, specifically used for lacquer tapping to make scratches on the trunk. The sap that slowly seeps out from the trunk is collected in a container. “It’s taking quite a while for it to seep out.” (Nakata)
“We only get about one milk bottle of lacquer per tree each year. We can’t waste even a drop. In the summer, which is the peak season, the lacquer almost drips, but in the fall to winter months, it only seeps out. The quality is different depending on when you tap, as is how its used. That’s why you have to spend the entire year to collect it.” (Mr. Tobita)

Only a small amount can be collected at one time, so it must take quite a while to collect enough to fill a whole bottle. “If you try to force it out, debris can get mixed in, so you have to be patient. The trick is to make a small scratch and collect a small amount of sap, then slowly make the scratch bigger.” (Mr. Tobita)
There was a pile of used lacquer wood. Lacquer trees are grown for 10 years to collect a small amount of sap. The view of the used trees is a reminder of just how valuable lacquer is. Domestic lacquer is considered very precious and are used mainly to refurbish national treasures such as Nikko Toshogu Temple. Most of the lacquer sold in Japan is from China. It will be difficult for Japanese traditional culture to continue if domestic lacquer is no longer available, so there is great hope for successors to follow in Mr. Tobita’s footsteps. There are also great expectations for the Lacquer Preservation Group which continues to oversee the planting and tapping of the lacquer trees.

“We tap lacquer for only 1 year after allowing the tree to grow for 10 years. The tree is then cut down. This process is called ‘koroshi kaki (killing tap)’ and is essential in collecting the highest quality of lacquer. In other countries, they tap for up to 3 years, but in Japan, we only tap for 1 year and do our best to collect the very best quality lacquer.” We spoke with Mr. Yuzo Tobita, master lacquer tapper who was been a lacquer tapper for 66 years, earning him the Yellow Ribbon Medal. “Lacquer tapping” is the process of tapping the sap that is used for lacquer in Japanese lacquer art and woodcraft. The word “tapping” comes from the metal tool that is used to scrape the trunk of the tree.

Lacquer is highly resistant to bacteria and sturdy, making it ideal for craftwork, as well as architecture and daily items. Japanese lacquer work has a great reputation overseas, not only as a coating but as a design. Because the technique is so intricate, lacquer work is sometimes referred to as “japan”, a sign that it is symbolic of Japanese craftsmanship. Daigo city in Ibaraki prefecture is known for its abundance of nature. It is also known for top quality lacquer. Ibaraki ranks second in lacquer production, and the bulk is from Daigo city. There are about 10,000 lacquer trees in the city where Mr. Tobita and fellow members of the Daigo Lacquer Preservation Group continue their efforts to preserve the culture.

We visited an area with about 2000 lacquer trees. Only about 200 of these trees are tapped each year. Nakata follows Mr. Tobita’s instructions to try tapping using a tool shaped like a knife, specifically used for lacquer tapping to make scratches on the trunk. The sap that slowly seeps out from the trunk is collected in a container. “It’s taking quite a while for it to seep out.” (Nakata) “We only get about one milk bottle of lacquer per tree each year. We can’t waste even a drop. In the summer, which is the peak season, the lacquer almost drips, but in the fall to winter months, it only seeps out. The quality is different depending on when you tap, as is how its used. That’s why you have to spend the entire year to collect it.” (Mr. Tobita)

Only a small amount can be collected at one time, so it must take quite a while to collect enough to fill a whole bottle. “If you try to force it out, debris can get mixed in, so you have to be patient. The trick is to make a small scratch and collect a small amount of sap, then slowly make the scratch bigger.” (Mr. Tobita) There was a pile of used lacquer wood. Lacquer trees are grown for 10 years to collect a small amount of sap. The view of the used trees is a reminder of just how valuable lacquer is. Domestic lacquer is considered very precious and are used mainly to refurbish national treasures such as Nikko Toshogu Temple. Most of the lacquer sold in Japan is from China. It will be difficult for Japanese traditional culture to continue if domestic lacquer is no longer available, so there is great hope for successors to follow in Mr. Tobita’s footsteps. There are also great expectations for the Lacquer Preservation Group which continues to oversee the planting and tapping of the lacquer trees.

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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.

History of Niigata Lacquerware

Located in the northern part of Niigata Prefecture and the largest city on the Sea of Japan side of Honshu with a population of 810,000, Niigata City has long flourished as a “port city” and was a port of call for “Kitamae Senpaku” (steamships sailing on the Sea of Japan) from the Edo Period to the Meiji Period. As a result, trade in goods flourished, and cultures from various parts of Japan came in one after another from the sea and land.

One of these cultures was that of lacquerware. It is said that the origin of this culture dates back to the early Edo period, about 400 years ago, when “Noshiro Shunkei,” one of the traditional crafts of present-day Akita Prefecture, was introduced to Japan. It is said that a special area for the sale of lacquerware, called wandana, was established in downtown Furumachi and a policy of protection was adopted, attracting a variety of techniques and craftsmen to this area. In the late Edo period (1603-1868), sales of lacquerware expanded not only to Edo and Osaka, but also to Hokkaido, where it evolved into Niigata lacquerware.

Characteristics of Niigata Lacquerware, a Treasure Trove of Henshi-nuri Lacquerware

Niigata lacquerware is characterized by its rich variety of lacquering techniques, which is called “a treasure house of Kawari-nuri” (variant lacquering). The craftsmen’s playful spirit and passion for expressing something by using only the lacquer technique have given birth to this variety of lacquerware.

For example, one of them is “Take-nuri,” in which the texture of bamboo is expressed not with actual bamboo but with lacquer. Originally developed in the Edo period (1603-1867), this technique became popular when it became fashionable for samurai to have their swords’ sheaths lacquered with bamboo, and the technique spread to other regions. It has since taken root in Niigata and some other regions, and is now a representative technique of Niigata lacquerware. The technique is unique in that it uses rusted lacquer mixed with abrasive powder to create bamboo joints and stripes, and Makomo (straw mat) powder to express a sooty texture.

Other techniques include “ishime-nuri,” which expresses the rough texture of stones, and “nishiki-nuri,” characterized by irregular speckled patterns created by layered lacquering.

Fascinated by the beauty of bamboo lacquerware, he became a Niigata lacquerware craftsman.

Momoko Sanada, an active Niigata lacquerware artisan, entered the world of bamboo lacquerware at the age of 24, fascinated by the beauty of bamboo lacquerware. Ms. Sanada, who had never been involved in the industry before, recalls her surprise at the fact that bamboo lacquerware was made entirely with lacquer, and her fascination with the beauty of what appeared to be made of bamboo.

He absorbed the techniques at a speed that surprised everyone around him, and he has continued to hone his skills under the tutelage of a lacquer craftsman who is said to be the best in Niigata. He also felt a sense of mission to connect the history of Niigata, the town where he was born and raised, to the future.

Expressing Modernity with Traditional Craftsmanship

Mr. Sanada’s works have a modernity that rewrites the Japanese image of “traditional crafts. The surfaces are often matte and scratch-resistant, another feature. There are also “Ruri Nuri” (lapis lazuli lacquerware), which resembles lapis lazuli gemstones, and “Beniseki Nuri” (red stone lacquerware), which resembles red stones, and they blend well not only with Japanese cuisine but also with Western cuisine such as Italian and French. They are cool and showcase the potential of the dishes at the table as well.

One of Mr. Sanada’s specialties is “Oborogin-nuri,” or “Oboro Gin-nuri.

This is a reproduction of the Hensen-nuri technique of Shibata Zeshin, a lacquer craftsman of the Edo period, and although it is a wooden product, it has the unique texture of a metal. Shibata Zeshin is widely known for his “Fuji-Tagoura maki-e maki-e frame,” which was exhibited at the Vienna World Exposition in 1873 and won a prize.

The dark atmosphere and subdued brass color have a cold, antique atmosphere, and the chic old-fashioned look creates a serene beauty. Of course, each piece is made by hand. The process of hardening the wood, dressing with cloth, applying rust, and applying the middle coat of lacquer lasts nearly two months. In the middle stage of the process, charcoal powder is sprinkled to give the piece an uneven appearance, as if it has decayed. Although it is a reissue, the finished product is truly modern and contemporary.

Making Niigata a Famous Lacquerware Production Center

Niigata lacquerware has evolved through the convergence of a wide variety of techniques and the individuality of each craftsman. The history of the association is still young, and the scale of Niigata as a lacquerware production center is not so large. In terms of the retail and wholesale markets, Niigata Lacquerware is not as big as other famous lacquerware production centers. Still, Mr. Sanada smiles and says proudly, “I do this work because I love it. Mr. Sanada’s job is to hone his skills as a craftsman and to thoroughly pursue his own unique line of “hen-nuri. He now offers his techniques on a completely custom-made basis, mainly to restaurants. He creates new items one after another based on the restaurant’s image of the food to be served and his imagination to make it stand out. He receives many orders from the Tokyo metropolitan area and overseas, and sometimes has to wait six months or more for delivery.

It has been about 10 years since Mr. Sanada entered the world of lacquerware. At first, he was selfless in his pursuit of “making beautiful things. Now, he continues to be motivated by new challenges.

I am a burly craftsman, a product-maker. Now I enjoy thinking of new coatings. From now on, for example, I want to use a 3D printer to try my hand at something resinous, or even something copper-like.” says Mr. Sanada.

The day may not be far off when Niigata Lacquerware will be talked about around the world as a famous lacquerware production area.

The post The abundance of expression and playfulness are appealing. Niigata Lacquer Ware” Momoko Sanada, known as a treasure house of Hen-nuri lacquerware / Niigata Prefecture first appeared on NIHONMONO.

I knew nothing about traditional crafts

“Now please everyone relax and loosen your legs. Make yourselves comfortable. Interviewer, interviewee, we’re all equal. No bosses here”. 　Isao Ohnishi is accredited as the nation’s Important Intangible Cultural Property in the field of lacquer craft. However, he does not come from an old lacquer craft family.
In fact, he was born in a small coal mine town and skipped through a variety of jobs all over the nation when he was young. ”I knew nothing about traditional crafts. It was by coincidence I wound up this way. I don’t have much formal education either, but I thought a craftsman should somehow be able to make a living. It was something like that.. ” When he was living in Kanagawa, he learned about ”Kamakura Bori Sculpture”, and as he frequented the workshops, he came across lacquer crafting.

I love something that is edgy

We looked at one of his works. It is a big platter．Careful observation revealed mutiple visible layers. ”This one was made from layers of boards. That is a no-no in this profession. The reason is because it takes too much time and effort. This involves slicing thin boards of ”Kiso Cypress”, then bending them in a round shape. Then you laquer each and every one of these boards and sand and polish them. Then layer all these to make a large platter. In lacquer crafting where repeated lauer application and polishing is a necessity, such work will require unthinkable patience. That’s what he meant when he said this is a no-no. ”I’ve always liked something really sharp and polished, like the blade of a samurai sword. You only have one life, so for me to live like myself, I would like to be making something that I want to make. I can’t be doing this if making money was my prime interest.

Strong lacquer

In the workshop, he showed us the raw material ”urushi”for lacquer. ”You know beehives? The stuff they use to stick the beehive on the tree is said to be ”urushi” lacquer. It has the function of adhesive when dry and it doesn’t rot. ” In the pail was some locally collected, thick ”urushi” lacquer. ”This is ”urame urushi”. It is the last ”urushi” that can be collected from an ”urushi” tree. It is a durable lacquer that can be used for fishing.” However durable means it takes strength to polish the surface. Mr.Ohnishi excels in a finishing skill called ”nuritate” where one finishes without polishing.. This method relies on instantaneous timing. ”Oh I am more of a risk taker. I like it when finish is decided in the particular moment.” he said.

You can do it if you try

”What makes ”urushi” lacquer difficult?” Nakata asked. Onishi replied ”Difficult… Actually, there isn’t anything that difficult with this. Lacquer work is a matter of applying and shining. In other words, it’s addition and subtraction. Adjustments can be made. You just need to spend time doing it. You can it if you try. So, it’s really not that difficult.”
This may be true. It may just be easy to give up just because it seems difficult.

He also added, using his own style of euphemism. ”For instance with a marathon, some run to win, others to set some kind of record. It’s more interesting if you challenge things wanting to achieve something.” he laughed. During the interview, Onishi shared his thoughts about how to live and about his work throughout the interview. His pieces are a product of his philosophy that ”you can do it if you try”, combined with a lot of time and work all done by hand.

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All-rounder of ”urushi” lacquer.

Kiichiro Masumura was designated as an Important Intangible Cultural Property （Living National Treasure）for ”kyushitsu”. ”Kyushitsu” is the oldest technique of lacquer, and it can be applied to various base materials such as wood, bamboo, and cloth, and there are many varieties such as lustrous and matte finish. In one word, it is an all-rounder of ”urushi” lacquer.

Masumura’s works has a wide variety. Ones that are mellow and calm. Ones that have lustrous brilliance. Some works have dazzling bright red floating in black. On first look, one cannot tell what they are made of, but they are so beautiful and unique.

Painting ”urushi” lacquer on leather.

As explained earlier, ”kyushitsu” can be applied to any base material, so it is possible to make works utilizing the texture of materials.
For example, there is a technique called ”kanshitsu”, which is painting ”urushi” on hemp, and stacking them in layers to get unique texture. Another rare technique is called ”joutai” which a rope is wound in a shape of a vessel and painted with ”urushi” and left to harden. Masumura uses such various techniques to make pieces of work.

What surprised Nakata most was the technique called ”shippi”. That is painting lacquer on animal skin. A dried piece of leather is softened in water, and then attached to a wooden frame. Then it is dried and hardened and removed from the frame. Then lacquer is applied. Nakata took up one piece of work in his hand and asked, ”Is this really leather?”. It is so rigid that one can’t help doubting it.

Make the most of the material and make something ”interesting”.

The history of ”shippi” is very old, and according to Masumura, the method is described in ”Engishiki”, so it is a technique that existed in Nara period.
”Interesting,” said Nakata. ”It is such an old traditional technique, but this design is so modern. I’ve never heard of this technique before. It’s very interesting, and it’s cool, too. Wonderful.”

”You might find this interesting, too,” said Masumura, and showed him a bamboo basket that is painted with ”urushi” lacquer. ”I bought this basket somewhere, and I applied ”washi” (Japanese paper) and then ”urushi” lacquer. things like oranges and in it and put it on the dining table.”

Nakata nodded in agreement and said, ”The texture is nice. Very interesting. How about making a big bamboo …” He gave one idea after another. Masumura took great interest and listened to his suggestions, saying, ”That sounds good. But may be difficult……” The collaboration of users and makers may begin through ”this is interesting”.

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600 year history of making lacquerware

In the olden days, Hiruzengobara in Okayama was a post town. It was once busy with travelers since it was the shortest course for traveling from Bizen and Bicchu (southeast and west Okayama Prefecture) to Houki (midwest Tottori Prefecture). Residents of Gobara made their living by making lacquerware. The history goes back as far as 600 years. Lacquerware made in Gobara, called ”Gobara shikki”, is made from Morus bombycis wood, a kind of chestnut tree that grows in local Hiruzen and is very strong. The lacquerware is simple yet beautiful, and not expensive, making it very popular among commoners.

Chestnut wood grown to make lacquerware

However, during World War II, lacquer which is essential for making lacquerware, became a state controlled item. Not being able to obtain lacquer during the war, production of ”Gobara shikki” diminished. And with the sudden social changes after the war, production came to an end. About 20 years ago, locals concerned with the situation revived ”Gobara shikki”. They work not in private workshops but at the Gobara Lacquerware Museum.
In making ”Gobara shikki”, chestnut wood is sliced then milled while still fresh. It is then dried and a thin layer of lacquer is applied and polished off. Forming items while the wood is still fresh is unique and not found in any other parts of Japan. This traditional method is followed to this day. Gobara shikki is designated as Important Cultural Property of Okayama prefecture, and is also registered as Tangible Cultural Property. You can observe the production process by reservation at Gobara Lacquerware Museum. It may be interesting to visit and reflect upon its history.

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