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.

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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.

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The various quality of lacquer

Kiso is a major producer of lacquerware products. We visited Hisashi Kitahara, a lacquerware craftsman. He came into the world of lacquerware crafts as an apprentice. There, he spent 10 years sharpening his skill. He later set up his own workshop and started making lacquerwares. His works are highly acclaimed for their beauty, and many of them have received prestigious awards.

At the workshop, we were able to hear about the various properties of lacquer. Nakata asked if it is possible to paint the lacquer on the surface of pottery. Kitahara answered that it is possible to paint the unglazed ones.
”Lacquer can be applied to pottery that can absorb it. Potteries coated with glaze don’t absorb lacquer. But this is my own #sake” bottle that I have repaired with lacquer,” Kitahara said, and took out a ceramic ”sake” bottle. It was repaired with lacquer mixed with zinoko (dried clay powder) to replace the chipped part, and shaped to blend in with the rest of the bottle.

”Even if lacquerware gets a little scratched, it can be repaired by polishing the damaged part and reapplying lacquer. So it can be used for a lifetime. If the base lacquer is painted properly, it lasts longer. Nowadays we have dishwashing detergents, so it is easy to take care of lacquerware. Just apply detergent to a soft dishcloth, wash and rinse, and wipe the water. Simple as that.” Kitahara told us.

”Tsuishu Carving” craft

Some of the works Kitahara makes is ”Tsuishu (red lacquer) Carving”. Usually, lacquer craftwork is painting lacquer on something. But ”tsuishu carving” is made by coating layers and layers of lacquer to give thickness, and then carving patterns and reliefs.
Even if one applied lacquer every day, it will take 4 years to bring it to 1 centimeter thickness. The process takes tremendous time and patience. Nakata was shown a brightly colored tsuishu incense container. The rich lacquer in vermillion, blue, white, and black are thickly layered, and its glossy texture gives a novel impression. It is truly an artwork that can only be created with long time and effort.

Lacquer can be used for adhering objects, and also can be used to create various artworks depending on the wooden base and the painting technique. And like Kitahara’s ”Tsuishu Carving”, there are beautiful artworks which are expressed only with lacquer. It was another special opportunity to observe high craftsmanship, helping us realize the charm of lacquerware.

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