Traditional Japanese Lacquerware: Types, Techniques, and Regional Styles (Part I)
1. Wajima lacquerware
Wajima lacquerware, known as Wajima nuri in Japan, comes from the city of Wajima in Ishikawa Prefecture. What makes this lacquerware stand out is not just how it looks, but what it's made from. It uses a special base material called jinoko, which is a fine powder made from diatomaceous earth. You can only find this powder in Wajima, and it plays a huge role in making the pieces tough and long-lasting.
The jinoko base layer gives the lacquerware its solid feel and strong durability. This is why Wajima pieces can survive for generations and even be repaired if damaged. On top of that, they’re decorated using traditional Japanese techniques like maki-e, which involves sprinkling gold or silver dust onto the surface. Some designs also fill carved patterns with gold. These details give each piece a rich, polished look that catches the eye but still keeps its purpose as something meant to be used.
Each item goes through more than a hundred detailed steps before it's finished. That’s what makes it so reliable and refined. It’s not just art for show. Wajima lacquerware is built to be used and built to last.
Where Wajima Lacquerware Comes From
Nobody knows exactly how Wajima lacquerware began. Some say a priest from Negoroji Temple in Wakayama Prefecture brought the craft to Wajima during the Muromachi period, which lasted from 1336 to 1573. Others believe a different priest, also from Negoroji, fled a fire during the Sengoku period and taught the technique in Wajima after escaping the destruction. That war had been sparked by Toyotomi Hideyoshi in the late 1500s.
Even though the exact story is unclear, most theories agree on one thing: the method came from something called Negoro lacquerware, which was made for everyday use. It’s possible the items started out as practical tools and then slowly evolved into the detailed, refined works we see today.
By around 1630, early in the Edo period, the style started looking like the Wajima lacquerware we know now. Between 1716 and 1736, the production process settled into the same general structure still used today.
How Wajima Lacquerware Changed Over Time
These pieces weren’t always seen as high-end. Before the Showa period, which started in 1926, Wajima lacquerware was mostly used at home for special family ceremonies. People valued it for its strength, not its luxury. It wasn’t seen as a collector’s item or a work of fine art.
But that began to change in 1975, when the Japanese government officially recognized it as a traditional craft. Since then, more people have started to see it as something artistic and elegant. That change in reputation gave it a new identity; one that combines usefulness, craftsmanship, and beauty.
Today, Wajima lacquerware is known both for its style and for how well it holds up over time. It’s a craft built on history, careful hands, and rare materials that still speak to the place where it all started.
How Wajima Lacquerware Is Made: Step by Step
Shaping the Wood
Everything starts with the wooden base. Craftsmen use wood from Japanese zelkova or Japanese cherry birch trees. These trees are cut down and left untouched for two to three years so the wood can fully dry out. Once it’s ready, the timber is roughly carved into shape, but the work doesn’t continue right away.
Instead, the sawdust from the carving is burned, and the rough wood piece is smoke-dried. It’s then left to sit again for several months, sometimes even up to a year, so the moisture completely leaves the wood. Only after all that drying do the artisans begin shaping the piece in detail.
Using either a wood plane or a lathe, the rough shape is trimmed down little by little. They first cut the outside, then the inside, and finally smooth out the base. Every layer is carved with care to match the natural structure of the wood.
Laying the Undercoat
Once the wooden base is shaped, the undercoating begins. Wajima lacquerware uses a unique substance called jinoko, a powdered form of diatomaceous soil. It’s mixed with raw lacquer and layered onto the surface.
But first, the craftsman checks for cracks. If there’s even a small split in the wood, it’s reinforced using a technique called kirebori. They carve out the area just slightly and apply the mixture directly into the groove. For more delicate sections, a method called kisemono kezuri is used. This involves gluing down cloth to add extra strength before applying the lacquer.
After every fragile spot is reinforced, the lacquer-and-jinoko mix is spread over the entire piece. Once dry, the surface is shaped using a whetstone to make it even. Then it’s polished with water while turning on a lathe. This step smooths the base and preps it for the final coats of lacquer.
Applying the Final Lacquer
The last layers of lacquer are made from the sap of lacquer trees. It’s a slow and limited process. From June to October, workers make tiny cuts in the tree trunks and collect the sap in a bowl called an urushi zutsu. Each tree only gives about 200 grams of sap, so a lot of trees need to be tapped in one day.
Because this part takes time, the sap collection happens while the wood shaping and undercoating are underway. Once collected, the sap is filtered to remove bits of bark and other particles. Then it’s spun in a centrifugal machine to get rid of the rest of the impurities.
The raw sap doesn’t get used directly. It’s too soft and fades over time. So it’s heated and stirred until it turns into a thick, rich lacquer called nayashi. This version holds its color for hundreds of years.
The lacquer is applied in a special room where the air is clean and the humidity and temperature are controlled. Any dust in the air could ruin the surface. This part takes patience and focus. The layers go on smooth and even, and the craftsman has to be careful at every step. If the piece will be a single solid color, this is where the work ends.
Final Touches and Decoration
After the last lacquer coat, the piece is polished in a process called roiro. A very fine abrasive is used to bring out a deep, glossy shine without leaving scratches. Then, the decorations are added.
Wajima lacquerware usually features two types of decoration. One is chinkin, where patterns are carved into the surface and filled with gold or silver. The other is maki-e, where powders made from gold or silver are sprinkled onto painted designs.
These finishing details give each piece a look of quiet luxury. But the process is about more than beauty. It shows the precision and patience that goes into every stage. That’s why Wajima lacquerware is both functional and lasting, made to be used and admired for generations.
2. Kamakura-bori lacquerware
Kamakura-bori is a style of carved lacquerware made in Kamakura, a city in Kanagawa Prefecture. It goes back to the Kamakura period, between 1185 and 1333, when Japan first started importing thick-lacquered wood crafts from China. These were known as Tsuishu and Tsuikoku. Japanese craftsmen took those Chinese styles and blended them with local carving techniques and traditional patterns. That mix led to the start of what we now call Kamakura-bori.
Back then, sculptors who worked on Buddhist altar pieces and temple buildings began making carved wood items using trees like the Japanese Judas tree and ginkgo. They shaped the wood by hand, then added layers of lacquer. The first pieces were often used in temples, but they set the foundation for a craft that still exists today.
Kamakura-bori is known for its deep carvings and the way it shows off the chisel marks instead of hiding them. Those rough lines actually make the patterns stand out more. Another common method involves sprinkling black ink over a vermilion lacquer base, which makes the carved design pop against a dark background. These visual effects give Kamakura-bori its unique look and feel. Over 800 years later, the style is still evolving.
Today, Kamakura-bori isn’t just limited to religious use. You’ll find it in daily items like trays, inkstone cases, paperweights, and plates. A lot of visitors come to Kamakura looking for these pieces. The area has become a popular spot for people who want handcrafted items that mix tradition with function.
How Kamakura-Bori Evolved Through the Ages
Kamakura-bori started with craftsmen making Buddhist ritual tools during the Kamakura period. In the Muromachi period, between 1336 and 1573, the craft took a new turn. Temples began using Kamakura-bori incense cases. As tea ceremony culture took root, people also started using Kamakura-bori for tea boxes and other related items.
By the Edo period, which lasted from 1603 to 1868, Kamakura-bori had moved beyond just religious tools. Craftsmen began making goods for daily life. While the original Chinese carving influence stayed, more and more designs unique to Japan were added.
Then came the Meiji era. Starting in 1868, the government issued a policy that split Shinto from Buddhism. This led to a rise in anti-Buddhist sentiment, and a lot of temple sculptors lost their jobs. The demand for Buddhist carvings dropped hard.
Still, some craftsmen stayed active. Among them, Itsuki Goto and Kenzan Mitsuhashi stood out. They kept the tradition alive and helped improve the quality of Kamakura-bori during this rough period. Thanks to their work, the techniques didn’t disappear. Instead, Kamakura-bori began to show up in households and even in home décor.
Today, the tradition is still strong. Kamakura-bori continues to be made using the same careful process. It’s carved by hand, painted with natural lacquer, and finished with fine detail. In 1979, the Japanese government named it an official Traditional Craft, giving it the recognition it earned over centuries. Kamakura-bori remains a lasting piece of Japanese culture that people still use and appreciate every day.
How Kamakura-Bori Is Made: Step-by-Step Craftsmanship
The making of Kamakura-bori is a long, careful process that involves many skilled artisans. Each step needs precision, patience, and experience. From picking the right wood to the final polish, every part matters. Here’s how the process works from start to finish.
Choosing the Right Wood
Kamakura-bori begins with timber from Japanese Judas trees, mostly from Hokkaido. After being cut, the wood is left to season for six months to a year. This helps it dry out and become stable. Once it’s ready, black ink is used to mark the shape of the final product. A band saw is then used to cut it out. Different craftspeople handle each stage from here on; some carve, some lacquer, and others make the tools used in between.
Turning the Wood
If the item being made is round, like a bowl, tray, or plate, the wood is placed on a lathe. Rounded shapes make up most of the production. The piece is turned once to form the rough shape, then left to dry. After drying, it’s turned again to get a smoother, cleaner form. In some cases, boards are combined or hollowed out to shape the base before carving begins.
Painting the Design
Next comes the design planning. A pattern is sketched to fit the final product’s shape and use. The sketch is transferred onto traditional Japanese paper dyed with green bamboo ink. That paper is used to trace the pattern onto the wood.
Rough Carving
The first carving stage brings the design to life. Using a sharp knife, artisans cut into the traced lines. These cuts are made at angles that give the design depth and a sense of space. This is where the carving skill really starts to show. The line work has to be exact, and it sets the base for the rest of the details.
Shading the Design
To make the pattern stand out more, the edges around the carved lines are raised. This step requires real control. If the artisan makes a wrong move, the piece can’t be saved. The shaping here defines how clear and strong the design will look.
Highlighting with Chisel Marks
Kamakura-bori stands out for its surface texture. Instead of sanding everything smooth, artisans leave the marks made by their chisels. These chisel lines give the piece its character. They add depth and bring out the pattern’s shape in a bold way. Knives of different sizes are used, each one chosen for a specific effect.
Lacquer Undercoat
Once the carving is done, raw lacquer made from urushi tree sap is brushed onto the wood. This first layer seals the surface and prepares it for more coats.
First Lacquer Coat
The next step is to apply another layer of raw lacquer over the entire surface, including the engraved areas. Right after that, carbon dust and a special powder for polishing are sprinkled on. These particles stick to the surface and help highlight every carved bump and dip once dry.
Middle Lacquer Coats
After the first coat dries, two layers of black lacquer are added. These must be applied with care so that the lacquer doesn’t build up inside the carved lines. Once dry, the surface is polished with sandpaper and a whetstone to keep everything smooth but still sharp.
Final Scarlet Lacquer
For the last color layer, scarlet pigment is mixed with translucent lacquer and brushed onto the whole piece. This red topcoat gives Kamakura-bori its classic look.
Makomo Powder Finish
Before the final coat dries all the way, a powder made from a plant called makomo is lightly sprinkled on. When it dries, the surface is polished again. This gives the piece an aged, antique look that’s still rich and refined.
Final Lacquer and Polishing
The last step is to apply one more layer of raw Japanese lacquer. After it dries, the whole piece is polished again, first with cloth, then with baked clay powder known as susudama. This final polishing brings out the shine and depth in the carving and completes the piece.
Each item of Kamakura-bori goes through this long process before it’s ready. From raw wood to a finished object, it’s a blend of carving, color, and care. It’s not just craftwork. It’s tradition, shaped by hand, every step of the way.
3. Tsugaru lacquerware
Tsugaru lacquerware, also called tsugaru nuri in Japanese, comes from the Hirosaki area in Aomori Prefecture. People in this part of northern Japan have been making lacquerware since the middle of the Edo period, which ran from 1603 to 1868. But the name "Tsugaru lacquerware" didn’t appear until 1873, when it was shown at the World Expo in Vienna. Since then, anything made with traditional lacquer techniques in the Tsugaru region falls under this name.
Durable, Detailed, and Handcrafted to Last
Tsugaru lacquerware stands out for being useful, long-lasting, and good-looking. It’s made using a special process called togidashi kawari nuri. This method builds up many layers of colored lacquer, which are then polished to reveal complex, flowing patterns. Craftsmen usually apply the lacquer dozens of times onto a base made of local Tsugaru cypress. This isn’t a quick job. It takes about two months to fully complete one piece. That time goes into building strength, thickness, and surface depth.
Time-Tested Techniques from the Edo Period
Back in the Edo period, artists came up with a variety of coating styles that are still used today. One common style is kara nuri, a base technique. There’s also nanako nuri, which creates a small dotted texture. Monsha nuri uses black lacquer and charcoal for a sharp, elegant look. Then there’s nishiki nuri, a layered method that needs advanced skill to pull off right. All of these finishes add character to the final product, giving each item a unique texture and visual effect.
From Samurai Blades to Household Treasures
The roots of Tsugaru lacquerware trace back to Lord Nobumasa Tsugaru, who ruled from 1646 to 1710. He led the Hirosaki domain when a travel rule called sankin kotai was in place. This law required feudal lords to spend time in both their home regions and the capital, which was then called Edo. That back-and-forth movement helped spread culture from major cities to rural areas. As a result, crafts like lacquerware started to grow. Skilled artisans were brought into the Hirosaki domain, including a lacquer master named Genbe Ikeda. He developed his own local style. At first, it was used only to decorate the scabbards of short samurai swords. But before long, other items like boxes and trays were made using the same methods.
Early Recognition and Craft Documentation
An old document from that time, called the “Tsugaru Information Chronicle,” was written by merchants. It says that by 1758, the kara nuri lacquer style was already in full use. Craftsmen were making things like document cases, multi-tiered lunch boxes, and sword sheaths. These lacquered pieces became popular as high-end gifts for the Imperial Court, noble families, and the ruling shogunate. The Tsugaru government protected and encouraged the craft to help it grow.
Modern Recognition and Global Reach
During the Meiji period, which ran from 1868 to 1912, Aomori Prefecture put its lacquerware on the global stage. At the World Expo in Vienna in 1873, they displayed pieces under the name "Tsugaru lacquerware." That moment gave the craft a clear identity and helped it earn a solid reputation both in Japan and abroad. From then on, Tsugaru lacquerware became known as one of Aomori's signature traditional arts.
Today, it’s still made with the same care, patience, and technique that’s been passed down for centuries. Whether it’s used in daily life or kept as a collector’s piece, Tsugaru lacquerware keeps its place as a symbol of fine Japanese craftsmanship.
How Tsugaru Lacquerware Is Made
Step One: Wood Selection and Shaping
The process starts with choosing the right wood. Cypress is picked for flat pieces like trays or short-legged tables. These items are made by joining boards together. For round objects like bowls that need to be cut on a wheel, Japanese magnolia is used. After logging, the wood is dried well, cut down to size, and shaped using a hand plane. Any cracked parts, knots, or the core of the wood are roughly removed. Only the strong, usable pieces are kept.
Step Two: Fabric Layering for Base Protection
The base coating method used here is called katashitaji, or solid undercoating. First, the wooden surface is polished so that the lacquer can stick better and seal out moisture. Then, a layer of cloth is glued onto the wood using a mix of lacquer and rice starch. This wrap helps protect the item from cracking or warping. The fabric is laid tightly so it sticks firmly all around the surface.
Step Three: Clay Lacquer Application
Next comes the clay-based lacquer stage. This step starts with a thick, coarse lacquer mix that gets smoother over time. A special powder called Yamashina, made from raw lacquer and starch, is used here. The mix is spread evenly using a spatula. Once it dries enough, the piece is rubbed against a whetstone to smooth the surface. Then, a finer powder is used to polish it again. This adds a rust-proof layer. What’s unique is that none of these early layers use water. Finally, a middle coat of lacquer is applied to parts that won’t have decorative patterns, like the bottom of a bento box.
Step Four: Pattern Prep
After the undercoat is set, it's time to add the first layer of pattern. A speckled design is made using a mix of lacquer, natural pigments, and egg white. This is called the preparatory lacquer. Craftsmen use small spatulas to place the mix onto every surface. Then it’s left to dry completely, inside and out, for about five days. This drying time is crucial to make sure the layers hold.
Step Five: Top Coating with Color
Once the pattern base is dry, colored lacquer is brushed on top. Strong colors are chosen to make the pattern stand out. Yellow and black are common picks for this. The contrast helps the speckled design show through in the final finish. This coating sets the look and locks in the pattern, bringing out the rich, layered effect Tsugaru lacquerware is known for.
Step Six: Coloring the Pattern
Now the real character of the piece starts to show. A scattered, checkered design is added using color lacquer. This brings out the signature shine of the kara nuri style. The usual mix includes deep red and green, which blend to create that unique speckled effect. To tone things down and give it a richer look, a clear coat of dark reddish-brown lacquer is brushed on top.
Step Seven: Adjusting the Color and Adding Detail
A thin lacquer layer goes over the full surface. Then, tin powder is sprinkled across it. Once the surface is polished again, the tsuma nuri border is painted around the edge of the pattern. This sharpens the line between the base color and the design, making the pattern pop against the background.
Step Eight: Final Overcoat
At this point, a heavy topcoat is brushed on. The color of this coat changes the final name of the finish. If red lacquer is used, it gets one name. If black lacquer called sugurome is used, it gets another. This step seals the piece and builds depth in the finish.
Step Nine: Base Polishing and Carving
The next round of polishing evens out any rough spots. The pieces are then placed inside a lacquer bath. This space keeps humidity and temperature stable so the lacquer dries correctly. After that, the patterns are carved in deeper. Any dents or grooves get filled with more lacquer. Then the item is polished again. This process repeats until the surface is smooth, sharp, and solid.
Step Ten: Fine Polishing with Oil Powder
After the rough polish, the piece is polished again, this time using oil powder made from canola oil mixed with fine polishing dust. This step is done over and over until the surface is silky and clear. When finished, everything is wiped clean to remove any oil residue.
Step Eleven: Final Wax Polish
The last step uses charcoal coated with wax-colored lacquer. Craftsmen rub this across the surface in small sections, polishing and wiping as they go. This brings out a deep gloss. Once the wax lacquer is fully applied and polished off, the piece is done. The surface shines, the colors hold, and the patterns look crisp. That’s when Tsugaru lacquerware is ready to be used or displayed.
4. Aizu lacquerware
Aizu lacquerware, or Aizu nuri, comes from the Aizu region in Fukushima, Japan. It’s a traditional craft made by coating wood with layers of lacquer. There are two main types: round items like bowls, and flat ones like trays and boxes. The designs often include pine, bamboo, plum, and ritual arrows known as hamaya. These are called “Aizu pictures” and are known for their lucky meanings.
What makes Aizu lacquerware stand out is its detailed decoration and strong use of symbols tied to good fortune. During the Edo period, the most common colors were black, vermilion, and green. Now, you’re more likely to see a dull reddish brown or a muted vermilion. Today’s artists also stick to a smaller color palette, which gives the pieces a clean and stylish look.
The carved lines on Aizu lacquerware are finer and not as deep as those in other regions. That gives the surface a soft, smooth finish. For the top layer, artisans use special methods like tetsusabinuri, which gives a metal-like texture using rust-colored lacquer, and kinmushikuinuri, which uses rice husks to make patterns. Other techniques include kijironuri, which brings out the grain of the wood, and hananuri, which adds shine by blending in oil. Every step takes precision and a high level of skill.
How It’s Decorated
The main way Aizu lacquerware gets decorated is through a technique called keshifun maki-e. The artist draws images with a lacquer-covered brush and then presses gold dust onto the wet lacquer using cotton. This method gives the designs a soft glow and fine detail that’s hard to match.
Where It All Began
The roots of Aizu lacquerware go back to the Muromachi period. That’s when locals first started planting lacquer trees in the region. In 1590, a feudal lord named Gamo Ujisato made a big push to grow the craft. He brought in skilled workers from Hino, a village in what’s now Shiga Prefecture, to teach new methods. This helped turn Aizu into a full-scale production center, from growing the lacquer trees to finishing the designs.
During the Edo period, Aizu became even more important. The local rulers supported the industry and kept improving the tools and techniques. The lacquerware from Aizu became so popular it was shipped to places like China and the Netherlands.
Aizu After the War
Toward the end of the Edo period, Aizu was hit hard during the Boshin War. The area suffered major damage, and the lacquerware industry almost disappeared. But after the war, people in Aizu rebuilt the workshops and revived the tradition. By the mid-Meiji period, Aizu was once again a top producer of Japanese lacquerware.
Today, Aizu lacquerware is still made with the same care and skill that shaped it centuries ago. Each piece reflects the region’s history, its sense of beauty, and a dedication to fine craftsmanship that continues to draw attention around the world.
How Aizu Lacquerware Is Made
Shaping the Wood
Aizu lacquerware starts with carving wood into the base shape. There are two main types: round items like bowls and trays, and flat ones like food boxes with tiers. For the round pieces, they use horse chestnut or zelkova wood. For flat pieces, they go with magnolia, zelkova, or paulownia. Once the wood is cut to shape, it gets left to dry naturally. This drying process takes over three years. That long wait helps pull out the lye and any bitterness from the wood.
Turning and Trimming
After the wood has dried enough, the round pieces are shaped more precisely using a lathe. Skilled woodworkers adjust the pressure by hand as they carve, which brings out subtle curves and fine details. For the flat pieces, specialists known as sowashi step in. They use many types of hand planes and tools to get clean edges and smooth finishes. This part of the work demands a lot of control and experience.
Applying the First Layer
Once the shape is ready, the next step is coating it with a layer called sabishitaji, or rust undercoat. This is a mix of raw lacquer and polishing powder. It fills in the grain of the wood and smooths out the surface. This undercoating isn’t just done once. It’s painted on and polished down several times to create an even, level base.
Polishing the Surface
Before the next coat goes on, the undercoat needs to be polished. Craftsmen use grindstones to do this. The goal is to remove any bumps or dents and make sure the next layers of lacquer will stick well. This polishing stage helps build a cleaner and stronger final product.
Layering the Lacquer
Lacquering happens in three main parts: undercoat, midcoat, and topcoat. After applying each layer, the piece is checked for scratches or flaws. The topcoat usually uses a technique called hananuri. This needs a steady hand and full attention. The lacquer has to be smooth, with no trapped dust or streaks. The goal is to get that soft, even texture that makes Aizu lacquerware special.
Once the topcoat is on, the piece goes into a drying chamber. To make sure it dries evenly, the item gets flipped over from time to time until it sets properly.
Finishing with Maki-e
The final stage is maki-e, where decoration happens. The artisan paints with lacquer, then sprinkles fine powder over the design. Gold and silver are common, but other colors like red, yellow, and blue are also used. The powder sticks to the lacquer and adds a rich, shiny layer of color and texture.
Each step takes skill, time, and patience. The result is a finished piece of Aizu lacquerware that’s both beautiful and built to last.
5. Yamanaka lacquerware
Yamanaka lacquerware, or Yamanaka shikki, comes from the Yamanaka Onsen area in Kaga, Ishikawa Prefecture. It’s known for a local wood-grinding technique that’s unique to the region. Most of what’s made are round items like bowls, plates, and saucers. Yamanaka is especially known for crafting the wooden bases of tea ceremony tools, like tea caddies.
What sets Yamanaka lacquerware apart is how it blends the natural beauty of the wood grain with fine maki-e. That’s a method where gold, silver, or colored powder is dusted onto a painted lacquer design. The result is a clean, elegant finish that highlights both the wood and the decoration.
Two Main Types of Yamanaka Lacquerware
There are two forms: mokusei shikki and kindai shikki. Mokusei shikki is the traditional type. It uses real wood, which is shaped, polished, then painted with layers of natural lacquer. Each piece may feature detailed patterns, bold colors, and delicate maki-e designs. These take time. Some pieces can take over a year to finish, since almost every step is done by hand.
Kindai shikki is the modern version. It’s made with plastic, coated with urethane instead of natural lacquer. It doesn’t carry the same craftsmanship as mokusei shikki, but it’s practical. It’s lightweight, long-lasting, and easy to clean. Because of that, kindai shikki is used in everyday settings, including in schools for lunch trays and bowls.
Where It Started
The story of Yamanaka lacquerware starts in the late 1500s, during the Azuchi-Momoyama period. A group with logging rights moved upstream near Yamanaka Onsen to find good timber. These craftsmen worked lathes to grind wood, and over time, their skills became part of the area’s identity.
By the Edo period, Yamanaka Onsen became popular with travelers. As more people visited the hot springs, locals started making and selling bowls, trays, and toys. Around the early 1800s, they came up with a new style of decoration that involved carving crosswise grooves into the wooden base. They also learned new techniques from cities like Kyoto, including lacquering and maki-e, and made them their own.
Keeping It Alive
Production stopped for a while during World War II, but the traditional skills stayed strong. Even with change, Yamanaka lacquerware kept its reputation for being detailed, well-made, and beautiful. It’s still loved across Japan and respected as a form of folk art.
Between 1955 and 1964, things changed again. Factories and workshops opened up. Plastic and chemical finishes were added into the mix. This made it possible to create affordable products with different shapes and colors. Since the 1970s, Yamanaka lacquerware has grown fast. It now includes both traditional handmade pieces and mass-produced items made for daily use.
Today, Yamanaka lacquerware stands out for how it connects deep-rooted craftsmanship with modern life. Whether it’s hand-painted wood or durable plastic, the work still shows the region’s pride and skill.
How Yamanaka Lacquerware Is Made
Shaping the Wooden Base
The process starts with strong trees native to Japan. Craftsmen use zelkova, cherry, horse chestnut, or regular chestnut. The wood is cut into round blocks and shaped into bowls, trays, and other forms. To reduce warping, they use a method called tatekidori, where the wood is sliced along the grain, not across it. This helps keep the shape stable over time.
Once the blocks are cut, they’re dried, then shaved smooth with a hand plane or knife while spinning on a lathe. Most artisans use hand-forged tools they made themselves. These tools give them better control for carving precise details.
They also add surface patterns, called kashokubiki. There are over 50 styles used only in Yamanaka lacquerware. These patterns aren't just for looks. They also make the piece easier to grip without slipping.
The Undercoating Process
The first step in coating starts by soaking the wooden piece in raw lacquer. This helps seal the grain and protects it from warping. Next, a thick lacquer putty is applied to fill any cracks or holes. After that, linen is pasted around the base and rim to make the structure stronger.
Several coats follow. A mixture of noriurushi (a blend of rice glue and tree lacquer) and jinoko (a fine powder made from fossilized plankton) is spread over the surface with a wooden spatula. This builds a smooth and durable base. Once dry, the surface is polished.
After that, another coat is added using a rust-colored lacquer mixed with fine polishing powder. This final undercoat is applied with care, then sanded down again until the surface shines.
Applying the Top Coat
Once the undercoat is done, it’s time to add the final lacquer. A specialist uses a fine brush to apply layers of black, red, or other traditional colors. Each coat must be even and dust-free. This is where the final shine and deep tones come in.
Each layer is dried and polished before the next one is added. Because lacquer needs humidity to harden, weather affects how the work is done. Even a small speck of dust can ruin the surface, so it takes total focus to get this step right.
At this point, the product can already be used as functional tableware. But if it’s going to be decorated, there are more steps to follow.
Designing with Maki-e and Other Techniques
Now the real detail work begins. With maki-e, the artist paints a design in lacquer, sprinkles gold or silver powder onto it, then seals it with another coat of lacquer. After it dries, the surface is polished with charcoal until the design shines through. This method is called togidashi maki-e.
Another approach is takamaki-e, where layers of lacquer are built up to make raised patterns. This type of maki-e has a high relief look and was originally favored by nobles.
There are other ways to decorate, too. One is chinkin, where lines are cut into the lacquer and filled with gold leaf. Another is raden, where pieces of shell are shaped and set into the design like inlay.
Each step in the process requires patience, steady hands, and years of skill. From shaping the wood to finishing the final design, every part of Yamanaka lacquerware shows how deep the craft goes.
6. Kawatsura lacquerware
Kawatsura lacquerware, or Kawatsura shikki, comes from Kawatsura, a town in southern Akita, Japan. It's been around for centuries. People there have been making bowls, trays, and other daily items using local wood and lacquer. What makes Kawatsura lacquerware stand out is how strong and long-lasting it is. Even with that, it still sells at a fair price. That balance of quality and cost is one reason it’s still in demand.
How Kawatsura Lacquerware Is Made
The strength of Kawatsura lacquerware comes from how it’s built. The key is the undercoating. It starts with a mix of charcoal powder and persimmon juice. This blend is brushed onto the wood, left to dry, then polished. They repeat this process a few times. After that, raw lacquer goes on as a final coat. Each round makes the base tougher and more resistant to wear. These layers are what give the lacquerware its long life.
Using persimmon juice and charcoal also keeps costs low. Both are easy to get and cheap, so the final product doesn’t have to be expensive. One finishing method, called hananuri, skips the final polish. That gives the surface a smooth, glossy look with a more natural feel. It's subtle but adds warmth and character to the piece.
What’s Made Today
Most of what’s made now are bowls. They make up about 60% of the output. But it’s not just bowls. The makers have expanded into a wide variety of goods, from small tools and accessories to larger furniture pieces. While the designs fit today’s needs, they still keep the traditional feel. That blend of modern use and old craft helps keep Kawatsura lacquerware alive and relevant.
How It All Started
The roots of Kawatsura lacquerware go back to the Kamakura period, between 1185 and 1333. According to local history, it began when a man named Michinori Onodera gave farmers permission to use local wood and lacquer trees. At the time, life was hard in Kawatsura. The winters were long, cold, and brutal. People needed ways to make a living when they couldn’t work the fields. So they started coating wooden weapons with lacquer as a side job. That small craft slowly grew into a serious trade.
By the mid-1600s, lacquerware production had become a steady part of the local economy. In the records from that time, about 26 households in Kawatsura were running bowl-making shops. As the Edo period rolled on, the trade expanded. More people started buying bowls, trays, and food boxes. These weren’t luxury goods. They were made for everyday use. Still, skilled workers began adding designs like chinkin and maki-e. These gold and silver touches added detail and value.
Exports grew, too. Kawatsura lacquerware started reaching markets outside Japan. That kind of exposure helped the business spread and build a strong name.
From Recovery to Recognition
After World War II, Japan went through a rough time economically, but Kawatsura lacquerware kept going. Demand stayed strong enough to support steady growth. In 1976, the craft was officially recognized as a traditional Japanese art form.
Today, Kawatsura’s workshops still use the same steps their ancestors did. But they’ve adapted the products to fit today’s homes and lifestyles. The mix of quality materials, careful methods, and practical design keeps the tradition alive. The look might change slightly over time, but the core stays the same: strong, simple, and built to last.
How Kawatsura Lacquerware Is Made
The process behind Kawatsura lacquerware is long and detailed. It depends on skilled hands, natural materials, and a lot of patience. Each step is handled by specialized craftspeople, and from start to finish, it usually takes about a year to complete just one piece.
Choosing the Right Wood
For round items like bowls, they use wood from beech trees or Japanese horse chestnut. Square pieces, like stacked boxes and trays, are made from magnolia, cedar, or cypress. All the wood comes from well-kept forests near the Ou mountain range in Akita. Trees are never taken down carelessly. Most are over 200 years old, and proper care is taken to avoid stripping the land.
Cutting and Shaping the Wood
First, the raw wood is cut into round slices. Each piece is checked to avoid knots or any damage. The usable sections are trimmed down into blocks that match what they’ll become later. Once shaped, each block goes onto a lathe where the outer form is carved and the inside is hollowed. After that, the wood is boiled. This helps pull out tannins and keeps the finished product from warping. It also keeps bugs away.
Drying the Wood Naturally
Next, the wooden forms are put in a smoke-filled room for a full month. The smoke slowly dries them out until the moisture content drops to about 10 percent. This step is important to make sure the wood doesn’t bend or crack later.
Final Woodwork and Smoothing
After drying, the pieces go back on the lathe. A hand plane is used to shave the surface until it’s smooth and clean. This final cut also sharpens the shape and prepares the wood for coating. By now, the item looks close to what it will be when finished.
Charcoal and Persimmon Base Coat
Now comes the first key step in what makes Kawatsura lacquerware different. A mix of charcoal powder and persimmon juice is brushed on with a straw tool. Once it dries, it gets polished. Then another layer of persimmon juice is added and polished again. This base layer builds strength and helps seal the wood.
Applying the Raw Lacquer
A horsehair brush is used to rub raw lacquer into the surface. Then the item is left to dry. This step is repeated five or six times. Between each round, the surface gets polished and another layer is added. These repeated coats block moisture and stop the wood from warping. At the same time, they form the strong, lasting base needed for high-quality lacquerware.
Building the Final Coats
After the base is done, the color layers start. The craftspeople adjust the tone of the lacquer slowly over six or seven coats. Each layer has to dry completely before the next one can go on. The lacquer reacts to heat and humidity, so understanding those small changes is important. Timing matters. One mistake can ruin the whole piece.
The Hananuri Finish
For the final step, a method called hananuri is used. A layer of lacquer is brushed on, then left to dry without any polishing. This creates a smooth, glassy surface. But it’s tricky. Even one brush mark or speck of dust can ruin the look. It takes steady hands and years of experience to get it right.
Adding Decorative Touches
Depending on the item, they might add chinkin or maki-e. Chinkin involves carving into the lacquer and filling it with gold. Maki-e uses gold or silver powder to create painted designs. These final touches give the piece a brighter, more detailed look.
Every Kawatsura lacquerware item is made through a team effort. Each artisan handles one part of the process. With so many steps and so much drying time, it’s not fast work. But the result is something strong, beautiful, and meant to last.
7. Echizen lacquerware
Echizen lacquerware, or Echizen shikki, is made in and around Sabae City in Fukui Prefecture. In this part of Japan, lacquer isn't just a craft. It's a key part of life. Sabae has long been known for its strong manufacturing roots, and lacquerwork sits right at the center of it.
This style of lacquerware is known for its clean shine and deep color. The finish has a calm glow that stands out. It's elegant but never flashy. People across Japan often use Echizen pieces during weddings and ceremonies, not just because of tradition, but because the designs and colors feel timeless. Every step in the process takes skill, and those techniques have been passed down through generations. The production work starts with expert lacquerers called nushiya. They focus on coating each piece with care. From there, the process is divided up among other craftsmen who handle the rest. Each person works on a specific part until the final piece is ready.
They make a huge range of items: chopsticks, tea tools, bowls, boxes, gifts, and more. Some are decorative, others are made for everyday use. There's something for almost every purpose.
As people's lives and tastes in Japan have changed, so has Echizen lacquerware. Makers developed new designs and found ways to increase production without losing quality. Today, this region makes over 80 percent of the lacquerware used in Japan’s food and service industries. More modern and updated styles are still coming out, keeping the tradition alive while meeting current demand.
The story of Echizen lacquerware goes back about 1500 years, to the end of the Kofun period. Back then, the 26th emperor of Japan, while still a prince, visited Kawada in what is now the Echizen region. He needed his broken crown fixed, so he asked a local lacquering master in the village of Katayama, now part of Sabae. Along with the repaired crown, they gave him a black lacquered bowl. He was impressed by how well it was made. After that, he supported Katayama as a place to produce lacquerware.
In the past, people in Echizen were allowed to pay taxes in lacquer instead of rice. That’s how valuable it was. At one point, half of all the lacquer tapped in Japan came from this area. Tappers would cut into the trees just right to get the lacquer fluid without ruining the bark. There are even records from the 1600s, around the time when Nikko Toshogu Shrine was built, showing the names of Echizen tappers who worked on those projects.
During the Edo period, the Tokugawa government praised lacquer tapping. That praise, combined with the growing number of Buddhist memorial services, helped Echizen become the country’s top lacquerware producer. Over time, the techniques got more advanced. They added maki-e, where gold is brushed into carved patterns, and chinkin, which uses gold inlays. These methods brought more detail and brightness to each piece.
By the time the Meiji period started in the late 1800s, Echizen craftsmen had expanded even more. They weren’t just making bowls and trays anymore. They started producing things like flower vases and compact dining tables, too.
Echizen lacquerware keeps changing to fit the times, but it’s still built on centuries of care, skill, and local pride.
How Echizen Lacquerware Is Made: The Full Process
Making the Wood Base
Every piece of Echizen lacquerware starts with the wood base. This first step is done by a group of skilled craftspeople. They divide up the work and each handles a part of the process.
It begins with picking the right wood. Only solid trees are used, like zelkova, horse-chestnut, cherry, and bigleaf magnolia. These woods hold shape well and don’t warp easily. But they still have to be dried carefully to make sure they stay stable. If the wood isn't dried right, it can twist or crack.
Once the wood is ready, a woodturner steps in. That’s the person who shapes the material to the correct size using a turning tool or saw. Round pieces like bowls are shaped on a lathe. Items with angles are cut and carved from boards. Before anything gets a layer of lacquer, a first coat is applied. This undercoat fills in small cracks, chips, and soft spots. It creates a smooth, strong surface. Without this step, the final lacquer wouldn’t stick well or last long.
These days, lacquerware isn’t just made from wood. People are using dishwashers more often, so other materials are being used too. Plastics, metals, glass, and fibers have become common. Plastic parts are shaped with machines using heat, which makes production faster and cheaper. And with 3D printing, even more shapes and styles are possible.
Applying the Undercoat
The coating process is split into two parts: undercoating and overcoating. This stage affects how strong and smooth the final product turns out. Coating can be done by hand or with a spray. What makes lacquer dry and harden is a chemical change from urushiol, the main ingredient in lacquer. But for that to happen, the space needs to be warm and humid.
Weather and air conditions matter a lot here. Even a small change can ruin the finish. That’s why it takes real experience to get this part right. During undercoating, the surface gets polished over and over. This helps make the final layer clean and even.
Finishing with the Overcoat
The overcoat is what gives lacquerware its smooth shine. It’s the final layer, and it has to be handled with care. The lacquer is dried at just the right humidity and temperature. This can be done using hand sprays or spray guns. Both traditional and modern colors can be used. Some new methods, like kawari-nuri (a special textured lacquer finish), have also been added to the craft.
After the lacquer is sprayed on, the piece is put inside a machine called a rotation bath. This turns slowly to keep dust and dirt off while the piece dries. Drying takes a few days, but it helps protect the final finish.
Adding Maki-e Designs
Decoration is a big part of Echizen lacquerware. The most popular technique is maki-e, where a brush is used to paint a design with lacquer. Then, gold or silver dust is sprinkled on top. The surface is polished again and again until the image is clear and smooth.
There are three main types of maki-e. Tokidashi maki-e is where the gold or silver is polished flat. Hiramaki-e gives a smooth, level design. Takamaki-e is raised, giving the pattern a 3D look.
Etching with Chinkin
Chinkin is another decoration method. Instead of painting, this one uses a sharp tool to cut patterns right into the surface. Then, gold or silver leaf is placed into the grooves. A layer of lacquer is brushed over everything to hold it in place.
There are three ways to engrave with chinkin. Sen-bori uses straight lines. Ten-bori uses dots. Katagiri-bori is sliced to create deeper, more angled cuts.
From the base to the final polish, every step of making Echizen lacquerware takes real craft. It blends old techniques with modern tools, keeping a long tradition alive while letting the work grow and change.
8. Joboji lacquerware
Joboji lacquerware comes from Joboji, a small town in Iwate Prefecture. In Japan today, most lacquer is imported. Over 98 percent of it comes from China or other countries. But Joboji stands out. It makes about 60 percent of the country’s entire supply of natural, homegrown lacquer.
That’s what makes Joboji lacquerware different. It’s one of the few places in Japan still using real Japanese lacquer, pulled straight from trees in the area. The finished pieces are simple and stripped down. You usually see black, deep red, or light brown. There’s no flashy design. Just a clean, soft shine.
Why Joboji Lacquer is the Best in Japan
The key ingredient in all true lacquer is urushiol. It’s a natural oil in the sap of lacquer trees. The more urushiol, the better the quality. Chinese lacquer has around 60 percent urushiol. Most Japanese lacquer sits at about 65 percent. But Joboji lacquer hits between 70 and 75 percent. That’s the highest anywhere in the country. That’s why Joboji lacquer gets used to restore Japan’s national treasures, like the Kinkaku-ji Temple in Kyoto and Chuson-ji’s Golden Hall right in Iwate.
Made to Last, Built for Everyday Use
Joboji lacquerware has always been part of daily life. The bowls and cups were never meant to be fancy. People used them every day. The design is plain because it had to hold up to real use. The craft focuses on strength and utility. Over time, the surface develops more shine as you keep using and rubbing it. There’s an old saying in Joboji: the craftsman does 70 percent of the work, and the user finishes the rest.
A Craft Rooted in Monks and Mountains
The story goes back to Hachiyozan Tendai-ji Temple in Iwate. That temple was built in the year 728 by order of Emperor Shomu. A Buddhist monk named Gyoki oversaw the work. While building it, the monks also made their own tableware. That’s where lacquerware started in Joboji. After that, the monks began giving away their pieces to temple visitors. The skills they used spread out from there.
Locals started making everyday pieces called oyama goki. These were used in homes across the region. That’s how Joboji lacquerware moved from temple life into daily village use.
From Royal Gifts to Working-Class Bowls
In the Edo period, between 1603 and 1868, Joboji also produced high-end lacquerware called hakuwan. These were coated with gold and sent to feudal lords as gifts. But when the Meiji era began in 1868, that kind of item went out of style. Even so, people kept buying the everyday stuff. Demand for oyama goki and other useful lacquerware kept growing.
Decline and Revival in Modern Times
After World War II, things went downhill. Cheap plastic items took over. Imports flooded the market. The demand for real lacquerware dried up fast. By the 1970s, the craft was almost gone.
But in 1975, the Industrial Laboratory of Iwate Prefecture stepped in. They worked with local artisans and lacquer tappers to bring it back. The town started making lacquerware again, using local trees and traditional methods. In 1985, Joboji lacquerware was officially recognized as a National Traditional Craft. That status helped protect the tradition and bring attention back to this rare, handmade art.
A Craft That Keeps Its Roots
Joboji lacquerware has never been about luxury. It’s about using what the land gives, making tools for real life, and letting time do the finishing work. Every bowl holds part of the forest. Every cup carries the mark of its user. It’s a craft that doesn’t try to impress. It just lasts.
How Joboji Lacquerware Is Made: The Full Process from Wood to Finish
Picking and Preparing the Right Wood
The process starts by choosing wood that can handle the lacquer. Common choices include horse chestnut, zelkova, cherry birch, mulberry, mizume cherry, and magnolia. These trees are cut during their dormant season. That’s when the growth stops, and the risk of cracks, shrinking, or warping is lower.
Once the trees are cut, the logs are sliced into thick round sections. Each slice matches the general shape and size of the piece that will eventually be made. At this stage, the wood is still raw and full of moisture.
Shaping the Base by Hand and Machine
Next comes rough cutting. The wood is trimmed down to remove excess and to get close to the size of the final piece. Artisans study the wood grain to decide what kind of item each piece of wood will become. The natural grain affects both shape and strength.
After that, rough turning begins. Using a lathe, the wood is spun and carved into a shape that’s still slightly oversized. It’s left around 10 to 20 millimeters thicker than the final product. Then, the rough piece is set aside and left to rest for several months.
Controlling Moisture with Careful Drying
Once the shape is set, the drying process begins. First, warm air or a dehumidifying dryer brings the moisture content down to about 7 or 8 percent. That takes two to three weeks. After this artificial drying, the piece is naturally dried so its moisture level matches the surrounding air. This slow and steady process keeps the wood from cracking or bending later on.
When drying is done, the item is brought back to the lathe for middle turning. It’s trimmed again, this time much closer to its final size, leaving just 5 to 10 millimeters of extra thickness. Then it’s left alone for two or three days. This helps release any hidden stress in the wood before the next step.
Preparing the Base for Lacquer Coating
Before the lacquer is added, the surface needs to be cleaned and hardened. First, it’s smoothed out with sandpaper and wiped with a dry cloth to get rid of any dust. Then, raw lacquer is rubbed deep into the wood. This step is crucial. It seals the surface, makes the wood more stable, and helps future lacquer layers stick better. A solid base coat also makes the piece more water-resistant and durable.
There are two main base coat styles: maki-ji and urushi-ji.
With the maki-ji method, a special lacquer is applied and sprinkled with powder made from baked diatomite, camellia ash, or magnolia charcoal before it dries. Then raw lacquer is added again to harden everything. After that, the piece gets an undercoat, a middle polish, and a second middle coat.
Urushi-ji, also called kasane nuri, uses nothing but lacquer. The raw lacquer is mixed with powdered slate and a red pigment called colcothar, which is mostly iron oxide. After each coat, the piece is polished with charcoal or emery paper. This cycle is repeated around seven or eight times, building up a strong, smooth surface.
Final Coating for a Clean, Glossy Finish
Once the base layers are set, the final lacquer coat is applied. This is where things get precise. The highest quality lacquer is used. The goal is a smooth, even surface with no brush lines or dust. There are two ways to finish this step: roiro nuri and hana nuri.
Roiro nuri means polishing the piece after it dries to give it a rich, glossy shine. Hana nuri skips the polish. The piece is left as is, with the natural texture of the final coat.
Most Joboji lacquerware comes in one of three colors: vermilion, black, or dark brown. The dark brown look is made using a semi-translucent lacquer that shows a bit of the wood underneath. Each finish is done by hand and reflects the full process behind it, from tree to final touch.
9. Kiso lacquerware
Kiso lacquerware, known in Japan as Kiso shikki, comes from the Kiso region, now part of Shiojiri City in Nagano Prefecture. This area sits on a plateau nearly 900 meters above sea level. The high elevation brings cool summers and harsh winters, which help make the climate ideal for working with natural lacquer.
The region is rich in local trees like Japanese cypress and thujopsis. These are two of the five sacred trees of Kiso, often called the Kiso goboku. These trees, along with others like cercidiphyllum and Japanese horse-chestnut, are key materials for the lacquerware.
The process starts with natural lacquer, which is applied to wood that’s been carefully prepared. The wood gets washed in hot water, then wiped clean with a soft cloth. After that, it’s left to rest in a space that’s not too humid or too dry and away from sunlight. This keeps the wood in the right condition before the lacquer is added.
Over time, Kiso lacquerware develops a strong, warm surface. It actually gets better with age. The more you use it, the tougher and more beautiful it becomes.
There are a few main techniques used in Kiso lacquerware. One is called Kiso Shunkei. This method highlights the natural grain of the wood by brushing it with raw sap from the lacquer tree. Another method, called Kiso Tsuishu, starts with a base coat. Then, a thick layer of lacquer is applied using a pad, creating a raised pattern. A third method, Nuriwakero Ironuri, uses several colors of lacquer to create sharp geometric designs. Once the final layer dries, the surface gets polished for a smooth, clean finish.
Kiso lacquerware has deep roots in the region’s history and geography. Shiojiri’s location was once an important point along the Nakasendo, a major road that linked Kyoto and Edo, now called Tokyo. That road helped bring attention to the lacquerware, especially during the Edo period, which ran from 1603 to 1868. The Owari Tokugawa clan supported the craft, which helped it grow.
The lacquerware tradition took a big step forward during the early Meiji period, between 1868 and 1912. That’s when artisans in Kiso discovered rust clay, which made a huge difference in how they applied the base layer of lacquer. Rust clay contains a lot of iron, so it helped make the lacquerware stronger than what was being made in other areas. Because of this, Kiso lacquerware became known all over Japan.
After World War II, demand grew fast. Craftspeople started making more kinds of lacquerware, including luxury items used in both Japanese and Western-style hotels. Many of these pieces weren’t meant for everyday use, but they helped keep the craft alive and growing.
Today, Kiso lacquerware is still made with the same care and skill that started centuries ago. It’s a tradition shaped by the land, the weather, and the people who keep it going.
How Kiso Lacquerware Is Made: Step-by-Step Process
Shaping and Drying the Wood
The first step is turning raw wood into a finished shape. Only fully dried wood is used, and it's left to dry naturally over time. The type of tree depends on what the item will be. Some woods are better for bowls, others for trays or boxes. A skilled woodworker handles this part, cutting and shaping the piece to exact sizes so the surface stays smooth and straight. This precision is key to how the final product looks.
Applying the Undercoat
Next comes the undercoating. This layer is a gray paste called kokuso. It's made by mixing raw lacquer with rice flour. Even though this base coat won’t be seen later, it matters a lot. It fills small gaps in the wood and makes the final item more solid and easier to use. The paste is brushed on carefully to smooth out any dents or flaws in the wood.
There’s an exception to this step in one method called Kiso Shunkei. In that case, the base coat is skipped. Instead, raw lacquer is rubbed directly into the wood again and again. This lets the natural grain show through, giving it a clean, rich look.
Middle Layer of Lacquer
After the undercoat, a thin coat of raw lacquer is applied across the entire surface. This part has to be done slowly to keep dust from sticking. Clean conditions are important here. If anything gets on the surface, it can mess up the smooth finish.
Adding Patterns with a Print Tool
For certain styles, a soft cotton pad called a tanpo is used to add texture. It presses an uneven pattern into the lacquer. This adds depth before the next layers go on.
Building Up the Colored Lacquer
Now the color starts. Pigment is mixed into the lacquer to get the right shades. Multiple colors can be used, depending on the design. Each layer has to dry fully before the next one goes on. That’s repeated around twelve times. The color becomes rich, deep, and smooth.
In a method called Nuriwakero Ironuri, more than one color is used to paint clean, geometric shapes. It’s careful work, but the final look is sharp and detailed.
Final Polishing
Once all the colored layers have dried, the piece is polished. This is done using a grindstone and sandpaper. The pressure used while polishing affects how much of the pattern shows. It’s a skilled process. Each artisan brings their own technique to it. The polish reveals the layers underneath, kind of like tree rings. The lacquer also protects the surface, hiding small scratches and making the item easier to handle over time.
One popular style after the war was Kiso Tsuishu. It uses the tanpo tool to coat the raised patterns with colored lacquer over and over, up to eighteen times. Then it gets polished flat with a grindstone. The final surface is even and smooth, with the pattern clearly showing through.
Polish Mixture for Shine
After shaping and color work, a special mixture is rubbed onto the surface. It’s made of coal dust, oil, and polishing powder. This gives the piece a soft shine and helps smooth out the finish even more.
Final Lacquer Layer
Now the raw lacquer comes back. A cotton cloth is soaked in it and rubbed across the wood. The process is slow and needs to be done before the lacquer dries. It’s wiped, then reapplied, then wiped again. This back-and-forth is repeated until the surface gleams. It brings out the grain and keeps the wood looking natural. This final look is what makes it a favorite for furniture, trays, and kotatsu tabletops.
Last Finishing Touches
The last step is one more round of polishing. This time, the artisan uses a mix of polishing powder, crushed antler, and canola oil. Cotton is used to apply it. This gives the piece a smooth, warm finish, and that’s what brings the whole process together. Every step before this leads to that final touch that shows off the quality and care behind every item.
10. Hidehira lacquerware
Hidehira lacquerware, also known as Hidehira-nuri, comes from Hiraizumi, a town in Iwate Prefecture in northeastern Japan. This traditional Japanese craft stands out for its use of gold leaf. The gold is locally sourced, and the way it's applied creates bold, vivid patterns you rarely see in other types of lacquerware.
The Signature Look and Feel
One of the most recognizable designs is called the yusoku style. It blends two classic Japanese patterns from the Heian period: Genji clouds and diamond shapes. These motifs reflect the high court culture of that time. Sometimes, artists also include drawings of plants, flowers, and other natural elements. The surface looks different from lacquerware made with maki-e, where gold powder is sprinkled across the top. Instead, Hidehira lacquerware has a more muted surface. The shine comes from the natural finish of the lacquer, not from artificial gloss. That’s part of what gives it a calm, understated beauty.
Where It All Began
The craft is named after Fujiwara no Hidehira, a powerful warlord from the Heian era who lived from around 1122 to 1187. People used to call him the "King of Michinoku," a historic name for the broader Tohoku region. According to old accounts, Hidehira brought in skilled artisans from Kyoto. He had them make lacquerware using the natural gold and lacquer that was found in the area.
In recent years, archaeologists have discovered the remains of an old workshop near Hiraizumi. They couldn’t date it, but its location and layout add weight to the theory that the roots of this craft go back to Hidehira’s time. So while we can’t say for sure what those original pieces looked like, it’s very likely that this is where the tradition began.
How It Changed Over Time
The version of Hidehira lacquerware we see today didn’t fully take shape until the 1500s. That’s long after Fujiwara no Hidehira’s lifetime. So the original style is lost, but the spirit of the craft remains. Each piece is still made by hand, one by one, just like in the past.
Even now, makers follow time-tested methods passed down through generations. That careful attention to detail and quality helped earn Hidehira lacquerware official recognition as a National Designated Craft in Japan.
This is more than a decorative art. It’s a tradition rooted in history, culture, and local pride. Every piece carries the legacy of centuries of craftsmanship from the heart of Iwate.
How Hidehira Lacquerware Is Made
Collecting the Lacquer Sap
The whole process starts by harvesting lacquer from trees. This only happens from June to October, when the sap flows best. Lacquer is actually a tree’s way of healing itself, like a natural bandage. So, to collect it, skilled workers cut into the tree with a hand plane. As the sap oozes out, they scrape it up with a small spatula. You don’t get much from each tree - usually only about 150 to 200 grams. It takes several days just to gather enough. The work is slow and steady, and it takes a lot of patience.
Drying and Preparing the Wood
Once the lacquer is collected, the next step is preparing the wood. Hidehira lacquerware usually uses Japanese beech, zelkova, or horse chestnut. But freshly cut wood holds too much moisture, so it needs to dry out first. Drying helps keep the final product from cracking. To speed things up and help with shaping later, the wood is cut into a rough bowl form before drying. Depending on how much moisture is in the wood, drying can take anywhere from one year to ten. When cutting the wood, makers look at roundness, how thick it is, and how comfortable it will feel in someone’s hands.
Smoothing the Shape
After drying, the wood still needs to be shaped properly. That’s where wood turning comes in. The rough cut piece is placed on a lathe and spun while tools shave it into a smooth, even shape. This process gives it clean lines and a polished surface. After that, sandpaper is used to smooth out the finer parts and get the shape just right.
Sealing the Wood Base
As soon as the shaping is done, raw lacquer is brushed onto the wood. This step locks in the form and keeps the wood from soaking up moisture, which would lead to warping or cracking. The lacquer forms a natural seal, and it’s a key step in making the piece strong and durable.
Building the Base Coat
Some parts of the piece may be fragile, so craftsmen reinforce them by pressing on strips of linen or cotton. Once the cloth is in place, they cover it with a mix of raw lacquer and rust powder. This helps blend it in so you don’t see the fabric. Then they apply a rustproof coating to make sure that powder doesn’t cause any damage later. With that, the base coat is done.
Layering the Coats of Lacquer
Coloring the piece takes multiple steps. There’s an undercoat, then a middle coat, and finally a top coat. After each coat goes on, the piece dries in a special humid drying box. This keeps the lacquer from hardening too fast or unevenly. The final coat takes the most effort. It has to be flawless. No dust, no smudges. So this last layer is applied with intense focus and care.
Adding the Traditional Design
After all the coating is finished, the decoration begins. This is where Hidehira lacquerware gets its signature look. The artists add the classic cloud and diamond pattern, often called the Hidehira pattern. They do this by first drawing it onto washi paper, then pressing the design onto the lacquered surface. This old method gives the pieces their timeless, elegant style.
Each stage in the process takes time and precision, and every detail is done by hand. That’s what gives Hidehira lacquerware its unique character and long-lasting beauty.
11. Kagawa lacquerware
Kagawa lacquerware, known in Japan as Kagawa shikki, comes from around Takamatsu in Kagawa Prefecture. It’s best known for its colorful designs, smooth surfaces, and strong build. You’ll see it in everyday things like cake boxes, trays, tea tables, and display stands. These pieces aren’t just pretty. They hold up well over time, even with daily use. The smooth, mellow finish stays glossy for years, and the lacquer resists chipping or cracking.
Each piece stands out because of its layered colors and clean polish. The look is soft but elegant, and the craft behind it is serious. This isn’t factory work. It’s handmade, skill-heavy work with deep roots.
The History Behind the Craft
Kagawa lacquerware took shape during the late Edo period. This was between the 1600s and 1800s. One key name from that time is Zokoku Tamakaji. He studied old lacquer pieces from China and Thailand and brought that knowledge into local techniques. The styles he used weren’t new, but he refined them. And he made them work for Japan.
Two of the core methods still used today are kinma and zonsei. Kinma involves carving lines into the lacquer surface, then filling each space with colored lacquer one at a time. After all the colors are in, the surface gets polished until it’s completely flat and even. Zonsei works a little differently. It uses a colored lacquer base, often in black, red, or yellow. Artists draw on it with fine tools, outlining designs with hairline precision. Both techniques came from Southeast Asia and reached Japan through China.
Support from Edo Leaders
Back in 1638, Yorishige Matsudaira, a feudal lord, moved to Takamatsu. He backed the craft from the start. He gave it funding and brought in top artists. This support gave Kagawa lacquerware a real boost. Skilled craftsmen moved to the area, and the work grew in both quality and quantity. Zokoku Tamakaji was born in Takamatsu. At 20, he went to Kyoto to study with other artists. There, he learned more about Chinese lacquer techniques, engraving, and painting. When he came back, he shared that knowledge. He kept working until he passed away in 1869 at age 64, serving three generations of the Matsudaira family.
Notable Masters and Their Styles
Another important figure is Taihei Goto. He developed a finish called gotonuri, which became its own signature style. Later on, artists like Isoi Joshin and Kodo Otomaru kept the craft alive. Both were recognized as keepers of Important Intangible Cultural Properties. That’s a top honor in Japan for artists who preserve traditional work.
Kagawa’s Modern Role in Lacquerware
In 1949, Kagawa was named an official lacquerwork production center. That same year, the total yearly output of Kagawa lacquerware hit around twenty-five billion yen. More than seventy artists have won national prizes for their work. And about two thousand people work in the industry today, either as artists or in related jobs.
The tradition is still going strong. Kagawa lacquerware isn’t just a relic of the past. It’s a living craft, built on serious skill, with deep roots and lasting beauty.
How Kagawa Lacquerware Is Made
The process for making Kagawa lacquerware is slow and exact. It takes skill, patience, and the right materials. This breakdown follows the method called Zokoku lacquering, which was developed by the well-known craftsman Zokoku Tamakaji. Each step has to be done right, or the final product won’t hold up.
Coating the Wood
It all starts with a hollowed piece of Japanese horse-chestnut. Raw lacquer is brushed directly onto the natural wood grain. Nothing can be left uneven or missed. If any spot is poorly coated, the piece won’t be solid in the end. Every surface needs to be fully covered.
Once that first coat is done, the item goes into a sealed container called a muro. It stays there for a full day. This step matters because the next part can only begin once the lacquer has dried all the way through.
Smoothing the Wood Base
After drying, the piece is shaped and smoothed with a lathe. The goal here is to get a clean surface with no splinters or rough spots. A smooth base helps the next layers of lacquer stick better.
If the wood has bug holes or dips, a filler made from raw lacquer sap and sawdust from Japanese zelkova trees is applied. This blend fills in gaps and smooths out dents. When it dries, the surface is sanded again using paper to make it even cleaner. This prep makes sure the next lacquer layers hold tight.
Adding Layered Coats
Next comes the layering stage. Several coats of raw lacquer are applied, one after the other. Between each coat, the surface is cleaned with water and dried. It takes about a full day for each coat to dry, so a five-layer piece needs at least five days before moving on.
Each layer builds strength and helps the finish stay firm. Rushing this step or skipping a dry period ruins the whole thing.
The Overcoat Layer
The overcoat brings out the deep black glaze that Zokoku lacquerware is known for. First, lacquer is used like a glue. Manchurian wild rice, a wild plant that grows near water, is crushed into fine black powder. This powder is then pressed into the surface of the item, following the wood’s design.
After placing the powder, extra bits are brushed off. The lacquer mixed with this natural powder forms a tough, water-resistant glaze. It’s applied with a pad, and any extra lacquer gets wiped off with a cloth before it dries.
Final Polishing and Decorative Layers
Once the glaze is on, polishing begins. In the tateurushi-nuri method, charcoal is used to rub the surface smooth. This helps later coats stick better.
Colored lacquer is then brushed on using a soft paintbrush. Artists often use a red-brown mix known as shuai. When it dries, it gets a final polish for shine.
Another method, called goto-nuri, stands out because of its speckled finish. After applying the shuai lacquer with added red, artists use their fingertips to tap or stroke the surface. How they move their fingers changes the speckle pattern. Every piece comes out a little different.
There are also other decorative techniques, like kinma, zonsei, and choshitsu. These use engraving, painting, and layering to add more color and texture to the final design.
This careful process is what gives Kagawa lacquerware its strength, detail, and beauty. It’s not quick work, but it’s what makes each piece last.
12. Ryukyu lacquerware
Ryukyu lacquerware, or Ryukyu shikki, comes from Okinawa. It’s a local take on lacquerware that began with Chinese techniques, but over time it developed into something that’s purely Okinawan. The skill and design behind each piece have earned respect not just in Japan, but internationally as well.
Unique Styles and Decorative Methods
What sets Ryukyu lacquerware apart is the wide range of decorating methods. One signature technique is tsuikin, where colored lacquer is built up to form raised designs. It was inspired by a Chinese method called tsuishu, but Okinawan artists gave it a more detailed, dimensional look. Then there’s hananuri, which plays with layers of red and black lacquer to create deep contrast and a bold finish.
Other methods include chinkin, where gold is inlaid into the lacquer surface. Haku-e uses foil to give off a metallic shine. Raden adds crushed seashells into the design, giving each piece a natural shimmer. All of these styles combine to create pieces that feel rich and full of character.
The Role of Okinawa’s Environment
Okinawa’s climate works in favor of this craft. Warm temperatures and high humidity help the lacquer cure properly. Plus, the area has access to the right materials. Trees like the Indian coral tree, Japanese snowbell, and Okinawan banyan give artisans what they need to make high-quality lacquer. This natural environment, combined with skilled hands, is what made Ryukyu lacquerware thrive.
Early Origins and Cultural Roots
The history of Ryukyu lacquerware goes back to the 1300s and 1400s, when Okinawa was still the Ryukyu Kingdom. Back then, trade with China was steady and strong, which is how these techniques arrived in the first place.
After the kingdom unified in the 1400s, officials created the Mother-of-Pearl Magistrate’s Office to manage lacquerware production. In Ryukyu society, politics and religion were deeply tied together. People used lacquerware in religious ceremonies, and nobles wore beaded lacquer necklaces as symbols of status and devotion.
Changes in Power and Artistic Growth
Things changed in 1609, when the Satsuma domain from mainland Japan invaded. Ryukyu lacquerware was taken and handed over to Ieyasu Tokugawa. After that, the kingdom’s focus went more toward Japan than China. That political move started to shape the way lacquerware was made.
By the 1600s and 1700s, Ryukyu artisans were using red and green lacquer for gold inlay work, and they were making radiant pieces with seashell flake designs. In the following century, green turban shell became popular in raden work, especially on black lacquer bases. From the 1700s through the 1800s, more styles came in: gold inlay, foil work, and raised lacquer patterns all became common.
Modern Production and Legacy
In 1879, the Ryukyu Kingdom became Okinawa Prefecture. That’s when lacquerware started to leave government hands and move into private workshops and businesses. Even now, the craft stays alive through generations of artists, each continuing the techniques passed down while adding their own edge.
Ryukyu lacquerware stands out because of its roots in history, its range of styles, and the care put into each piece. From royal courts to modern studios, it’s a tradition that blends art, faith, and identity in a way that’s deeply Okinawan.
How Ryukyu Lacquerware Is Made: Step-by-Step
The process behind Ryukyu lacquerware is detailed and time-consuming. It takes steady hands, sharp focus, and years of practice. From the raw wood to the final design, each part of the process has a clear purpose. Here's how the work comes together.
Making the Wood Base
Ryukyu lacquerware usually starts with two types of wood bases. For stacked boxes and flat trays, artisans use joinery. For bowls and rounded trays, they use a lathe. The wood, often from local trees, has to dry for about six months before it’s ready.
In joinery work, boards are glued together, dried, and then shaped with a hand plane. For turned pieces, the wood is cut in circles using vertical sawing, or sliced lengthwise with horizontal sawing, depending on the final shape.
Applying the Undercoat
The wood surface needs to be smooth before lacquer is added. Any cracks, holes, or rough areas get filled with niibi sand, which is made by mixing raw lacquer with fine sandstone. This works especially well on rougher wood like Indian coral tree.
After that, a second undercoat is added using kucha, a mix of powdered mudstone and raw lacquer. This coat seals the surface and helps the layers stick later on. The piece is then left to dry.
Wet Polishing the Surface
Once the undercoating is dry, the surface is sanded using water and abrasive paper or grindstones. It starts with rough grit and moves to finer grit as the piece smooths out. This step is repeated several times during the process to keep the finish clean and even.
Adding the Middle Coat
To help the final coat look better and last longer, a middle coat of colored lacquer is added. The pigment used here matches the color of the top coat, so it blends well and adds depth to the final look.
Final Lacquer Coating
The clear lacquer is made by exposing raw lacquer to heat, often using infrared or ultraviolet light. This pulls out the moisture and gives it a clear finish, a step called kurome. Then, bright red lacquer is made by mixing vermillion pigment into thick lacquer, filtered through Japanese paper.
This top layer is brushed on by hand. The work must be smooth, even, and dust-free. Temperature and weather matter a lot here. Even a small change in heat or humidity can affect how the lacquer sets. Air bubbles and dust are pulled out with a thin needle.
To dry it, the piece is placed inside a rotating chamber. It slowly turns to keep the lacquer from dripping. If humidity isn’t controlled, the lacquer can shrink or turn darker than expected. This part calls for serious attention and timing.
Decorating the Piece
Decoration brings out the style of Ryukyu lacquerware. Each method has its own look and feel.
Raden uses small pieces of green turban shell or abalone. The shells are sliced thin, then cut into shapes using a silk needle. These pieces are placed on the surface and sealed with clear lacquer. After drying, the surface is polished using charcoal and powder until the shells show through. A glaze made from deer antler powder finishes the shine.
Chinkin involves carving shallow lines into the surface. These lines are filled with lacquer, then gold leaf is pressed into them while the lacquer is still soft. Once it dries, the gold stays in the grooves, and the rest is wiped away.
Haku-e begins with a red iron oxide outline drawn on the piece. Lacquer is added inside the outline. While it’s still tacky, gold leaf is laid on top. When the extra gold is brushed away, the design stays in place. Once the whole piece is dry, black lacquer is used to redraw the outlines and finish the image.
Tsuikin, which is only found in Ryukyu lacquerware, uses colored lacquer sheets. The artisan cuts out a design, sticks it onto the item, then carves and colors the rest of the surface around it. This gives the piece texture and a raised effect.
Each method has its own rhythm and requires precision. Together, they show just how much care and history goes into every piece of Ryukyu lacquerware.
Next up:
Traditional Japanese Lacquerware: Types, Techniques, and Regional Styles (Part II)
