Traditional Japanese Lacquerware: Types, Techniques, and Regional Styles (Part II)
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In case you haven't read Part I yet:
Traditional Japanese Lacquerware: Types, Techniques, and Regional Styles (Part I)
1. Takaoka lacquerware
Takaoka lacquerware, known in Japanese as Takaoka shikki, comes from the area around Takaoka City in Toyama Prefecture. It's known for its wide variety of traditional lacquer techniques. This type of Japanese lacquerware has deep roots and shows off a mix of methods that set it apart from other lacquer traditions.
Aogai-Nuri: The Signature Shell Inlay of Takaoka
One standout technique in Takaoka lacquerware is called aogai-nuri. This method uses paper-thin slices of mother-of-pearl, taken from the shiny inside layer of seashells. These thin pieces are cut into small shapes like triangles and diamonds, then arranged to form images of birds, flowers, and natural scenes. These shell-based designs are part of a broader category of decoration called raden. Most raden uses seashells that are about 0.3 millimeters thick, but Takaoka lacquerware often uses even thinner slices, around 0.1 millimeters. These finer layers allow the base color of the lacquer to peek through, which gives the shell a faint blue shine. That soft glow is what makes aogai-nuri distinct to Takaoka lacquerware.
Yusuke-Nuri: Ming-Inspired Japanese Lacquer Art
Another important method is yusuke-nuri. This style was created during the late Edo period, sometime between the 1600s and 1800s, by a man named Yusuke Ishii. He was drawn to the detailed beauty of Chinese lacquerware from the Ming dynasty and wanted to bring that style into Japanese craft. Yusuke-nuri uses rust-colored lacquer to paint scenes of people, birds, flowers, and landscapes. The process blends several techniques, including aogai shell inlay, gold leaf work called haku-e, and even small pebbles added into the surface. The finished result is always sealed with clear lacquer to protect and highlight the details.
Chokoku-Nuri: Carved Lacquer with Depth and Shine
Then there's chokoku-nuri. This one is all about texture and depth. It starts with wood carvings that get coated in red or black lacquer. The designs often feature plants, peacocks, wave patterns, and other motifs set in lightning bolt or hexagon frameworks. The carving makes the surface pop, giving it a raised, almost 3D look. There's a glossy shine to it that adds to the impact. Some modern chokoku-nuri also uses newer materials like glass or plastic, which fall under a sub-style called kawari-nuri.
From Samurai Tools to Art Pieces
Takaoka lacquerware has been around since around 1609. That’s when Toshinaga Maeda, the first lord of the Kaga domain, ordered the building of Takaoka Castle. Around that same time, he encouraged the making of weapons and household goods like trays and storage chests. The castle didn’t last long. It was abandoned just five years later. But the city of Takaoka stayed active and evolved into a busy center for trade and manufacturing.
Chinese Techniques That Shaped Takaoka Style
Some of the most important techniques used in Takaoka lacquerware came from China. Two of them are tsuishu and tsuikoku. These involve stacking layer after layer of red or black lacquer, then carving designs into the thick surface. These approaches laid the groundwork for what would become chokoku-nuri, raden, and rust-lacquer painting. The chokoku-nuri method was based on the work of Tanpo Tsuji, a craftsman active in the late 1700s. His influence shows up in the decorative floats used in the Takaoka Mikuruma-yama Festival. Later, Koemon Itaya helped push this style further in the early 1800s. Then, in 1850, Yusuke Ishii introduced yusuke-nuri after studying Ming dynasty lacquer. That style caught on quickly during the Meiji period and gained wide recognition.
New Materials, New Directions
Today, Takaoka lacquerware continues to grow. The kawari-nuri method, which uses materials like plastic and glass, is now catching the eye of interior designers. It's a fresh take on a very old craft. While the heart of the work still lies in tradition, these new materials and styles are helping bring Takaoka lacquerware into modern spaces.
The variety, precision, and history behind Takaoka lacquerware make it one of the most unique forms of Japanese lacquer. From its deep roots in Edo-period craftsmanship to its modern use in home decor, it’s a craft that keeps evolving while staying true to its origins.
How Takaoka Lacquerware Is Made: Step-by-Step
Takaoka lacquerware follows a long, detailed process that blends traditional skills with a careful eye for design. Every piece goes through several steps, from raw wood to the final polished finish. Here's how it all comes together.
Choosing and Preparing the Wood
The process starts with picking the right type of wood. Artisans use trees like Japanese zelkova, Japanese horse chestnut, and katsura. The wood is fully dried first, then shaped into the form needed for the lacquerware.
There are four main types of wooden bases used. Kuri bases are made by carving wood with a chisel. Turned bases are shaped on a lathe. Curved bases are formed by gluing thin wooden boards into rings. Joined bases are made by piecing together several flat boards.
Fixing and Strengthening the Surface
Next is the undercoating. Any small cracks or dents in the wood are repaired. The surface is smoothed out, and weak areas are covered with cloth to make them stronger. This cloth-laying step is called the nunokise method. Then a layer of filler powder is applied to cover the cloth and even out the surface.
Lacquering the Base
The next stage is the intermediate coating. Lacquer is spread over the filler and left to dry. Once it sets, the piece is polished until the surface is smooth. This finishes the prep work on the base.
Planning the Aogai Inlay
Now comes the design stage. This step focuses on aogai, the mother-of-pearl inlay. The shells used come from abalones, green turbans, pearl oysters, and box mussels. The craftsman decides how the shell pieces will look once set into the lacquer. This part takes patience, skill, and a sharp eye for visual balance.
Cutting the Shells
The shell pieces are then cut to fit the design. Straight lines are made with blades. Small or fine shapes are pierced using carving knives or small chisels. For curves, like animals or birds, artisans use sharp needles. That needle-cutting method is known as harinuki. It demands steady hands and high precision.
Pasting the Shell Pieces
After cutting, the design is marked onto the base. A thin coat of adhesive lacquer is brushed over the parts where the shell will go. The aogai pieces are then carefully pressed into place while the lacquer is still tacky.
Adding Engraved Detail
Once the shell inlay is set and the lacquer has dried, a fine needle is used to draw tiny lines over the shell. This step adds detail to things like eyes, flower centers, or other small features. It sharpens the image and gives it more life.
Second Lacquer Coating
A thin layer of lacquer is brushed over the whole surface again, including the shell parts. When it dries, the lacquer on the aogai is scraped off gently using a chisel, so the shell decorations stand out against the smooth surface.
Final Coating and Polishing
An overcoat is added to finish the piece. After it dries, the item is polished with charcoal made in Shizuoka and also with roiro charcoal. Then the whole piece is rubbed with a mix of polishing powder made from cut whetstones and canola oil. This starts to bring out the shine.
Rubbing in Raw Lacquer for Gloss
The last step involves applying a thin layer of raw lacquer. Once dry, the surface is polished by hand using a mix of canola oil and horn powder, which is made from ground-up baked deer antlers. This is done three or four times to build a deep, rich shine.
After these careful cycles of applying, drying, and polishing, the lacquerware is finally finished. The result is a smooth, glossy, and detailed piece that reflects centuries of skill and tradition.
2. Wakasa lacquerware
Wakasa lacquerware, also called Wakasa-nuri, is a traditional craft from Obama in Fukui Prefecture, Japan. It first took shape in the early Edo period, from 1603 to 1868. A lacquer artisan working for the Obama administration came up with the idea. He designed a pattern that captured the look and feel of the ocean floor in nearby Wakasa Bay.
Wakasa Bay is known for its deep, still water and scenic coastline. It’s a ria coast, which means it has lots of narrow bays and natural inlets. Places like Amanohashidate, known as one of Japan’s three most beautiful views, and Kehi no Matsubara, one of Japan’s top pine groves, sit along this same shoreline.
The Style and Technique Behind Wakasa Lacquerware
What sets Wakasa lacquerware apart is how it’s made. The surface patterns use eggshells, shells, and pine needles. These materials get pressed into the lacquer. Then the artist uses a method called togidashi maki-e. It’s a long process where the craftsman applies multiple layers of lacquer, each one building up the pattern. Once it’s done, the design looks like it’s rising from within the lacquer. This layered style gives the final piece a calm, deep, and quiet look.
Unlike many types of lacquerware that are built just for use, Wakasa lacquerware holds artistic value, too. It’s both durable and elegant, making it good for everyday items and display. The most common item made is chopsticks. Over 80 percent of Japan’s domestic lacquer chopsticks come from Wakasa production. That’s a huge share of the market. One more unique point is that a single craftsperson handles the entire process, from start to finish. Every piece is different because of that. There’s no factory line here, just one person shaping the work from raw form to finish.
The Origin and Evolution of the Craft
The earliest version of Wakasa lacquerware started sometime between 1596 and 1615. A craftsman named Sanjuro Matsuura, who worked for the Obama domain, came up with the idea. He looked at Chinese lacquerware for inspiration but added his own twist. His design mimicked the ocean floor of Wakasa Bay, with natural textures and a deep sense of place. His first model was called Kikuji lacquerware.
From there, his students developed a new method called isokusa lacquerware. Then, between 1658 and 1660, the full technique was polished into what we now know as Wakasa lacquerware. The local domain lord officially named the craft and promoted it heavily. To support the economy and create extra income, the lord encouraged lower-class samurai, called ashigaru, to take up the work on the side.
That support paid off. More skilled artisans appeared, each adding their own designs and techniques. Wakasa lacquerware became a big part of the local economy and culture. It reached its peak during the middle and late Edo period. Even after the Meiji period began in 1868, the craft kept its place as a key local specialty.
Wakasa Lacquerware Today
Even now, the craft continues. Artists are testing new ideas and designs that match modern tastes. They’re trying to keep the tradition alive while updating it for people today. The heart of the work stays the same, though. It’s still all about natural beauty, patience, and a clear sense of place. From the bottom of Wakasa Bay to the hands of one single artisan, every piece tells a quiet story.
How Wakasa Lacquerware Is Made
The making of Wakasa lacquerware takes time, care, and skill. There are over sixty steps, but each one matters. Except for the first part, which involves shaping the wood, one person handles the entire process from start to finish. This hands-on approach is what gives each piece its own character.
Choosing the Wood and Cloth Pasting
First, they choose strong, reliable wood. Craftsmen often use Japanese zelkova, magnolia, horse chestnut, cherry, or Japanese cherry birch. The wood has to be solid and free from warping. After drying it for the right amount of time, the artisan cuts the wood to match the exact size and shape of the final item.
To strengthen the joints and cover any small cracks or holes, they paste traditional Japanese paper and cloth over weak spots. This step is called cloth pasting. It keeps the wood from bending or cracking later. It’s a small step but crucial for the piece’s long-term durability.
Undercoating the Base
Next comes undercoating. The craftsman blends raw lacquer with fine clay powder and glue. This mix gets brushed evenly over the entire surface. Then, a thicker mix made of pebbles and lacquer, called rust lacquer, is applied with a spatula. You won’t see the undercoat when the piece is finished, but it’s key to making sure the item holds up over time and looks clean and smooth in the end.
Sanding and Intermediate Coating
Once the undercoat dries, the surface is polished and sanded down using a whetstone and water. This part is called rust polishing. After smoothing the piece, the artisan applies an intermediate coat of lacquer. This keeps the decorative layer from soaking into the earlier one and helps the design stay crisp.
Creating the Decorative Patterns
Now the most creative part begins. While the intermediate coat is still wet, the craftsman adds natural materials to form the pattern. These can be eggshells, seashells, mother-of-pearl, or even rice husks. The timing here matters a lot. If the lacquer dries too fast or too slow, the pattern won’t form right. Winter, especially between December and March, is the best time to do this step.
Adding Layers with Mixed Coating
After the pattern is set, more layers of lacquer are added. This step is called mixed coating. It involves using two or more colored lacquers, layered on top of each other. This gives the piece a rich mix of colors and shine that you can’t get from a single shade.
Gold Leaf for Detail
Gold leaf is then placed over the lacquered surface. It adds brightness and depth to the design. This touch gives the piece an elegant look without being too flashy.
Heavy Lacquer Coating
After that, the item is coated several more times. These layers are built up slowly. With each one, the craftsman polishes the surface to help the design emerge bit by bit. This is when the pattern starts to truly show itself.
Stone Polishing for a Smooth Finish
Now comes stone polishing. This step is special to Wakasa lacquerware. Other lacquer styles don’t use it. The surface is polished with a series of whetstones, starting with the coarsest and working down to the finest. This stage brings the pattern into clear view and gives the piece its smooth feel.
Charcoal Polishing for Gloss
After stone polishing, the item gets a layer of glossy lacquer and some touch-ups. Then it’s polished again, but this time with charcoal. First, coarse and medium charcoal made from magnolia is used. Then, softer charcoal from the koda tree and crepe myrtle smooths the surface further.
Final Polishing and Finish
The last step is the final polish. The craftsman mixes canola oil with polishing powder and rubs it on with cloth. Then, floss silk soaked in raw lacquer is used to give the piece more shine. To finish, they use their fingers with a little canola oil and red oxide, moving in small circles. This last touch brings out the shine and completes the lacquerware.
The entire process is slow, steady, and personal. Every step is done by hand. Every piece is one of a kind.
3. Hida-shunkei lacquerware
Hida Shunkei lacquerware comes from Takayama, a city in Japan’s Gifu prefecture. The name “Shunkei” traces back to an older tea container called Hishunkei, known for its unique color. When the first trays were made in this area, their tone looked a lot like those tea containers. That’s how the name stuck.
What sets this craft apart is how it shows off the natural beauty of the wood. You can see the grain through a clear, glossy lacquer. That see-through finish is a key feature. The look changes over time. The more you use it, the richer the color gets. The surface picks up shine and depth from daily handling. That blend of practical use and visual appeal is a big part of its charm.
People use Hida Shunkei lacquerware in everyday life. It's not just for display. Common items include serving trays, tea ceremony tools, vases, and food boxes. These aren't just for show. They're meant to be used, and they get better with age.
How Hida Shunkei Lacquerware Started
This tradition began in the early 1600s. A carpenter named Takahashi Kizaemon noticed how good the grain looked on sawara cypress wood. He made a tray out of it and gave it to Sowa, the older brother of the ruling lord in the Takayama domain. Sowa liked it so much that he asked a lacquering expert, Narita San-emon, to finish the tray with a clear coat.
That final product had a tone that reminded people of the Hishunkei tea container, a prized piece from the Kamakura period. Because of that, they started calling it “Shunkei” lacquerware. The tray was then offered to a family expected to lead the next shogunate, tying it to elite taste and status.
Over time, these trays evolved into more types of items. At first, the focus stayed on tea tools. But as demand grew, they started making things like food boxes and more household pieces.
The Role of Lacquer Artisans
One reason this lacquerware stands out is the way each piece has a slightly different color. That’s not by accident. Every artisan uses their own formula for the clear lacquer. These recipes are guarded closely. That’s why one bowl or tray might have a golden tone, while another looks a little redder or darker. It depends on who made it and how.
These subtle differences make every item unique. There’s no mass production. Each craftsman brings a different touch. That attention to detail is part of what keeps this tradition alive.
Growth and Exposure Worldwide
In the Meiji and Taisho eras, which lasted from the late 1800s to the early 1900s, Hida Shunkei lacquerware gained a wider audience. Wholesalers started showing it off at world fairs overseas. That kind of exposure helped it gain a reputation outside of Japan. People started to see it not just as a local product, but as a fine craft worth collecting.
Impact of War and Return to Popularity
World War II put a pause on production. Lacquer was hard to get, and the economy made it tough to keep the craft going. But things changed in the years after the war. As Japan’s economy picked up speed, Hida Shunkei lacquerware came back into demand. It became a common gift, especially during celebrations or formal visits.
Today, tourists visiting Japan often buy Hida Shunkei lacquerware as souvenirs. It’s become something that stands for tradition, quality, and timeless design. And because the items are both beautiful and useful, people continue to bring them home from Takayama. That demand helps keep the craft alive.
Why Hida Shunkei Still Matters
The main reason people still value this lacquerware is because of what it represents. It's a mix of skilled woodwork, fine lacquer techniques, and deep respect for materials. Every item reflects years of practice. It also stands as a quiet nod to the past, where form and function blended naturally.
Hida Shunkei lacquerware doesn’t chase trends. It doesn’t need to. The wood grain, the clear finish, and the simple shapes speak for themselves. They’ve worked for hundreds of years. And they still do.
How Hida Shunkei Lacquerware Is Made
The process behind Hida Shunkei lacquerware is long, careful, and deeply rooted in tradition. Every step, from raw wood to final shine, takes time and skill. The work is done by hand using methods passed down for centuries. Here's how it comes together.
Choosing and Preparing the Wood
The woods used include hinoki cypress, sawara cypress, and Japanese horse chestnut. These trees are known for their grain and strength. After cutting, the logs are left to dry out naturally for five to six years. That drying happens outside, in the open air. Once the moisture is gone, the dried wood gets turned into sheets at a sawmill.
After that, the sheets are stacked again and moved into a storehouse to dry even more. This second drying phase helps the wood stay stable and less likely to crack. Once it's ready, the wood is cut into boards that match the shape of whatever item is being made.
Forming the Wood Base
The next step depends on what kind of product is being made. There are three main styles: hegimeshi, magemonoshi, and hikimonoshi. Each needs its own tools and techniques.
For hegimeshi, the woodworker carves grooves between the grain to bring out texture. Then, they build rectangular boxes and trays by joining parts with nikawa glue. That glue comes from animal skin and bones boiled with water.
Magemonoshi involves steaming the wood to soften it. Once it's flexible, it's bent into shape using a wooden roller called a koro. This method is used for round or curved items like lunchboxes, tea canisters, and inkstone cases. After bending, the ends are glued and wrapped with cherry bark to hold everything together.
Hikimonoshi is done with a lathe. The wood spins while the craftsman shapes it with a blade. This makes round pieces like trays, saucers, and candy containers.
Preparing the Surface
Once the wood base is shaped, it’s passed to a lacquer specialist. First, they polish the raw wood by hand. Then, they mix a fine clay powder with water and coat the wood. After applying the mix, they wipe it off with a cloth. This makes the surface even and smooth, which helps the lacquer stick better and keeps the color from fading. This is one of the most important steps. If it's done poorly, the final piece won’t look right.
Adding Color and Undercoating
Next comes the coloring. Yellow or red dye is brushed on by hand to tint the surface.
Then a thin soybean paste called gojiru is brushed over the dyed surface. It gets applied several times to build a thin layer. This stops the lacquer from soaking in too fast when it’s applied later.
After that, the surface is sanded again with paper to make it smooth.
Lacquering and Overcoating
Now comes the main part. Raw lacquer is mixed with egoma oil, which is a plant-based oil. This mix is rubbed into the wood with a cloth. The lacquer soaks in, hardens, and turns clear. This process is repeated several times. Each layer deepens the look and makes the wood grain stand out more.
When the base coats are done, a final clear overcoat is applied. This step takes a lot of care. Even a small speck of dust can ruin it. Every lacquer master has their own secret recipe for this topcoat. Each one also chooses the lacquer based on the temperature and humidity that day, since those conditions affect how the lacquer dries.
Final Drying
Once the overcoat is on, the piece is moved into a drying room called a furo. It looks like a giant closet. The air inside is kept at just the right temperature and humidity so the lacquer can cure without flaws.
That’s how a finished piece of Hida Shunkei lacquerware is made. Every part of the process takes patience. Nothing is rushed. The result is a product that’s meant to be used and appreciated for years.
4. Ouchi lacquerware
Ouchi lacquerware, also known as Ouchi nuri, comes from Yamaguchi city in Yamaguchi Prefecture. This traditional Japanese craft dates back to the Muromachi period, around the late 1300s, when the powerful Ouchi clan ruled the region. They helped bring this art form to life by inviting skilled lacquer artists from Kyoto.
How Ouchi Lacquerware Looks and Why It Stands Out
The style is known for its deep vermilion color. That bold red base is layered with colored lacquer and decorated using fine gold leaf shaped like a diamond, which was the Ouchi family crest. Artists also paint delicate autumn flowers like bush clovers and Japanese pampas grass on each piece.
Every item is made with multiple coats of lacquer. That gives it a glossy finish but also makes it tough and fade-resistant. This is why Ouchi lacquerware lasts for generations without losing its rich look.
Beyond Bowls and Trays: The Ouchi Dolls
While trays and bowls are common, the real standout in this tradition is the Ouchi dolls. These have become iconic souvenirs over time. They’re made in pairs, showing round faces, slanted almond eyes, and small puckered lips.
There’s a story behind them, too. Hiroyo Ouchi, the clan’s ninth leader, brought doll makers from Kyoto to Yamaguchi. He did this to help comfort his wife, who missed her home in Kyoto. These dolls quickly became a symbol of marital happiness, and people still see them that way today.
Cultural Influence and History of Ouchi Craftsmanship
The roots of Ouchi lacquerware go back to the late 14th century. When the Ouchi clan settled in Yamaguchi, they shaped the city based on Kyoto’s layout. They admired Kyoto’s culture and wanted to recreate that refined style. But they didn’t stop there. They also opened up trade with China and Korea, creating a blend of Japanese, Chinese, and Korean influences. This mix gave birth to what became known as Ouchi culture.
During that time, Ouchi lacquerware became a valuable export to both China and Korea. Its reputation spread, and it played a key role in cultural exchange across East Asia.
The Craft’s Fall and Later Revival
After the Ouchi clan fell, the new ruling family moved away, and trade with other countries stopped. Because of this, the lacquerware industry in Yamaguchi started to disappear during the Edo period. It wasn’t until the Meiji period that interest returned. A set of lacquer bowls from the Ouchi era, called the Ouchi-wan, was found in the Mori clan’s collection. This discovery helped bring the tradition back to life.
By using those old bowls as a guide, artisans began making Ouchi lacquerware again. That’s when the name “Ouchi nuri” started being used regularly. Later, during the Taisho period, the first official Ouchi dolls were made at the Yamaguchi Prefectural Industrial Technology Institute. Since then, they’ve become a permanent part of the craft.
Ouchi Lacquerware Today
Ouchi lacquerware still carries the same traditions from centuries ago. Each piece reflects the history of the Ouchi clan, the art of Kyoto, and the blended culture that shaped Yamaguchi. It’s more than decoration. It’s a physical link to a time when Yamaguchi was a cultural hub. Whether you’re holding a bowl or a pair of dolls, you’re holding a piece of Japanese heritage.
How Ouchi Lacquerware Is Made: The Full Process from Wood to Finish
The making of Ouchi lacquerware is slow, hands-on, and detailed. Every step matters. It starts with raw wood and ends with a polished, decorated piece that can last for decades. Here's how it all comes together, using techniques passed down through generations.
Choosing and Preparing the Wood Base
First, the right kind of wood has to be chosen. Trees like Japanese snowbell, zelkova, and horse-chestnut are used for bowls, trays, and dolls. For bento boxes and inkstone cases, where several parts are joined together, makers go for Japanese cypress, empress trees, or bigleaf magnolia. The trees are cut and then left to dry naturally for years. Only well-dried pieces with the right grain and shape get picked.
Smoothing and Repairing the Wood Surface
Once the wood is shaped, it's checked closely. If there are any cracks, gaps, or weak joints, those get fixed before anything else. Small flaws are filled using a mix of raw lacquer, sawdust, and sticky rice glue. Because bowls and edges are easy to crack, those areas get extra support. Craftsmen glue on thin layers of washi paper or cloth with adhesive lacquer to help strengthen the surface. Then, a mix of raw lacquer, polishing powder, and powdered earth is applied. This base coat helps smooth the surface before the next layers go on. After that, the piece is dried and sanded using water, waterproof paper, and whetstones.
Undercoating with Lacquer
The next step is the undercoat. A thin layer of lacquer is brushed on and left to dry. When it’s dry, the whole piece is sanded again, this time using waterproof paper and a special charcoal made just for lacquerware. This helps create a clean, smooth finish before moving on.
Adding the Middle Coat
Now comes the middle coat. It goes on top of the undercoat and adds depth to the color. Once that layer is dry, it’s also sanded again using the same mix of waterproof paper and charcoal. This extra layer keeps the surface strong and smooth.
Final Overcoat for a Glossy Finish
The overcoat is the last main lacquer layer. Before it’s applied, the lacquer is filtered through traditional Japanese paper to remove dust and debris. This step is crucial. A single speck of dirt can ruin the look. So, the overcoat gets brushed on in a dust-free room, and the piece is moved into a controlled drying chamber, known as a muro. The air inside the muro is kept warm and slightly humid. It stays in there for 12 to 24 hours. That’s how the lacquer hardens — by reacting with the moisture and oxygen in the air.
Finishing Touches and Hand-Drawn Decoration
Once the base is fully coated and dried, it’s time to decorate. Artists use three main techniques: urushi-e, haku-e, and maki-e. Urushi-e is when designs are painted on using colored lacquer. Haku-e involves pressing gold or silver leaf onto the surface to create patterns. Maki-e uses fine dust made from gold or silver, sprinkled over lacquer drawings while they’re still sticky.
Each piece is decorated by hand. No shortcuts. Depending on the design and size, the full process can take one to two months. Every step — from carving the wood to polishing the final layer — is done with care.
That’s how a piece of Ouchi lacquerware is made. It’s a long, detailed process that blends tradition, art, and skill.
5. Kanazawa lacquerware
Kanazawa lacquerware, or Kanazawa shikki, comes from the Kanazawa area in Ishikawa Prefecture. This traditional Japanese craft dates back to the time of the Kaga domain. That domain was one of the richest during the feudal era. It was said to have enough resources to produce one million koku of rice, which equals about 180 liters per unit. That kind of wealth allowed the region to fund and support skilled artisans, which helped the craft grow fast.
The Role of Maki-e in Kanazawa Craftsmanship
The real beauty of Kanazawa lacquerware lies in a technique called maki-e. It's a method where gold, silver, or colored powder is sprinkled over designs painted in wet lacquer. This creates a layered, sparkling finish that stands out. While Japan first got lacquerware from China, maki-e itself was born in Japan. And Kanazawa became a center for this method. Over time, local artists developed nearly every type of maki-e that exists today. That includes flat designs (hiramaki-e), polished finishes (tokidashi maki-e), raised patterns (takamaki-e), and even layered techniques that blend depth and shine (shishiai tokidashi maki-e).
Why Kanazawa Became a Hub for Lacquerware
During the Edo period, lacquer was widely used for coating armor. That constant demand pushed the development of more durable and decorative techniques. In Kanazawa, the lacquerware-making process split into four types of work: maki-e artists, scabbard makers, utsubo craftsmen, and lacquer coating experts. Each role focused on a different step. Strength and beauty were both essential, especially for samurai tools. When peace came, the same skills that once went into armor started showing up in items used around the home. This shift added more variety and creativity to the craft.
How Politics Helped the Arts Grow
In the 1630s, the Kaga domain tried to avoid conflict with the Tokugawa shogunate, which worried about the Kaga family's wealth and power. To ease tension, the third Kaga lord, Toshitsune Maeda, invested heavily in the arts. He brought skilled workers from across Japan to train others. One of the most important names was Douho Igarashi, a leading maki-e master from the Azuchi-Momoyama period. He helped shape what became known as Kaga maki-e. The Igarashi school carried that style forward, training young artisans and giving rise to what is now known as Kaga culture.
Kanazawa's Craft Through Time
Many talented lacquerware artists stayed active from the Edo period into the Meiji and Taisho eras. During that time, the techniques became more refined and clearly set Kanazawa apart from other regions. But things didn’t always go smoothly. Toward the end of the Edo period, the Kaga domain ran into financial trouble. As a result, fewer lacquer pieces were made, and many didn’t survive.
Still, the tradition never fully disappeared. After World War II, during Japan’s economic recovery, Kanazawa lacquerware got a second life. People began to value its history and craftsmanship again. The skill and care put into every piece, backed by over 250 years of tradition, make it one of the most respected forms of Japanese lacquerware today.
How Kanazawa Lacquerware Is Made
Preparing the Wood Base
The process starts with the raw wood. Before anything else, each piece gets checked for cracks or dents. If any damage is found, it gets fixed using traditional wood repair methods. Then comes the undercoating. This step sets the base for everything that follows, so it has to be done with care. The way this coat is handled affects how the final product will look and feel.
Hardening the Wood
Next, the wood is soaked in clean, refined lacquer. This step, called wood hardening, helps smooth out the rough parts. It also lays a firm base for later coats. After that, a mix of crushed cloth scraps and wood powder is blended with thick lacquer called kokuso. That paste gets pressed into the seams where wooden pieces meet. This seals the joints and strengthens the structure.
Spreading the Pewter Layer
After hardening, pewter is applied to the lacquered surface. It’s made by combining polishing powder with a binding agent. Artisans use spatulas to spread this carefully. Too much pewter can lead to cracks or can bury carved details. Too little, and the wood grain can show through. So, this part takes real skill to get right.
Adding Cloth for Reinforcement
Once the pewter sets, thin cloth or traditional Japanese paper is laid across the surface. This layer helps the lacquer stick and keeps the structure solid over time.
Applying the First Lacquer Base
Now the base coats begin. The piece gets sanded with a grindstone. Then, a lacquer base is applied and allowed to dry. This coating and drying process is repeated two or three times to build a strong foundation.
Smoothing the Surface
Each layer of lacquer needs to be smooth. To prevent any rust and keep the finish even, artisans polish the surface using water. This step also happens a few times. The result is a silky layer that’s ready for more lacquer.
Intermediate Lacquer Coating
The next step is the intermediate coat. This helps prepare the surface for the final topcoat. A smooth layer of black lacquer is brushed on with a special tool. After that, the piece is placed in a humidity-controlled lacquer bath set at around 23 to 25 degrees Celsius and eighty percent humidity. It dries in this space for one or two days.
Mid-Level Polishing for Bonding
Once the intermediate coat dries, the surface is polished again. This time, a special charcoal made from burned tung trees in Shizuoka is used. This polishing isn't just for shine. It helps the final coat stick better.
Overcoating With Final Lacquer
Before the final overcoat goes on, the surface gets cleaned. Any dust or residue has to be removed. Then, a top layer of lacquer is added. The lacquer’s texture can change depending on the temperature, so the room stays at the same controlled heat and humidity used before. It’s placed back in the lacquer bath for another one or two days of drying.
Final Polish Coating
Once dry, a thin layer of finishing lacquer gets brushed on. This lacquer is filtered using delicate Japanese paper to make it extra clean. The surface then goes through another round of water polishing with charcoal.
Bringing Out the Gloss
A final coat of polishing powder is applied using soft cotton. This makes the surface shine and gives it a smooth texture. It also locks in the layers underneath.
Refining the Surface
Now comes the detailed polish. Cotton soaked in canola oil is rubbed gently over the surface. For the final touch, horn meal or titanium powder is applied by hand. This adds depth and brightness.
Finishing With Maki-e
The last step is decoration. Maki-e, the gold or silver powder design technique, is added to the polished surface. Once that’s done, the piece is complete.
Each step in this process takes time and skill. Every layer, every polish, every brushstroke adds to the finished look and feel. That’s what gives Kanazawa lacquerware its signature beauty and quality.
6. Kishu lacquerware
Kishu lacquerware, also called kuroe-nuri, comes from the Kuroe area in northwest Kainan, a city in Wakayama Prefecture. It's a traditional Japanese craft known for being simple, tough, and useful in daily life. People have used it in homes since the Edo period, between 1603 and 1868.
The look of Kishu lacquerware is its signature. You’ll see a black base with vermilion on top. Over time, the top layer wears off with use. That wear and tear slowly shows patches of the black layer underneath. This effect isn’t accidental anymore. It's become part of the design. The style traces back to negoro-nuri, which monks at Negoro-ji Temple in nearby Iwade used to make. They made practical pieces like bowls, trays, tables, and altars, all coated in bright red lacquer over a black base. These weren’t decorative. They were for everyday use. The fading of the vermilion paint came naturally as people used them, and people started to value that aged, layered look.
Kishu lacquerware makers still follow this classic method, but they’ve also changed with the times. Today, some pieces are made using plastic to cut costs and allow for faster production. Some artists also use maki-e designs, where they sprinkle gold, silver, or colored powder like blue, yellow, or vermilion onto wet lacquer to form patterns. That method adds detail without changing the heart of the craft.
Kishu lacquerware started even earlier, during the Muromachi period from 1336 to 1573. Back then, local craftsmen in the Kishu region, which is now Wakayama, made bowls using a mix of lampblack and persimmon juice, known as shibuji. Those early bowls and the monks’ practical negoro-nuri work laid the foundation for this art.
In 1585, things shifted. Hideyoshi Toyotomi, a powerful warrior and lord, led an attack on the Negoro-ji Temple. The monks fled and settled in Kuroe. Many of them were skilled in lacquerware, and their move helped turn the area into a hub for the craft. By the Edo period, the Kishu domain gave financial support to lacquerware makers, helping the tradition grow across Wakayama and southern Mie.
In 1826, craftsmen began making full-sized lacquered dining tables. By the 1850s, they started adding maki-e patterns. But after the Meiji Restoration in 1869, the Kishu domain stopped backing the craft. The makers lost that financial support, which made things harder. Still, in 1870, trade opened up with other countries, which helped revive the local industry.
In 1879, a new technique called chinkin was introduced. That method carves fine lines into the lacquer and fills them with gold or color. In 1898, artists from Kyoto came to Kuroe to help improve the maki-e work. Then, during the Showa period between 1926 and 1989, new freehand techniques called kawari-nuri took shape. These gave artists more freedom in the way they applied and textured the lacquer.
Today, Kishu lacquerware blends old and new. It holds onto centuries of tradition but also adapts to modern life. Whether it's a tray, bowl, or table, every piece carries the craft’s long history and the hand of the maker. The black and vermilion layers tell a story, not just of color, but of time, use, and change.
How Kishu Lacquerware Is Made: Step-by-Step from Tree to Table
Lacquer Collection and Prep
It all starts with tapping lacquer trees. Craftsmen make cuts in the bark using sharp tools to let the sap ooze out. That sap is the raw lacquer. Once collected, it’s filtered and dried. This step removes moisture and brings out a clean, glossy shine. It also makes the lacquer clear enough for layering.
Building the Wooden Base
Next, they shape the base. They cut the wooden parts, join them together, and carve the full form. Every section is measured and fit precisely. Once assembled, they smooth it down to get the surface ready for the next phase.
Base Prep Work
Before any lacquer is applied, they prep the wood. This part deals with fixing any marks or flaws. They patch up scratches, level the surface, and strengthen any weak spots. For fragile parts, they add layers of washi paper or cloth to reinforce the piece. The goal here is to make sure the wood is stable and smooth enough for the lacquer to bond well.
Lacquering in Layers
The coating stage happens in three layers: undercoat, midcoat, and topcoat.
First is the undercoating. It helps the later coats stick better and makes the finish more solid. After applying it, the piece goes into a special drying cabinet. This unit keeps the air humid and clean, so no dust settles on the wet surface. Once dry, the item is polished smooth. This helps the middle coat go on evenly.
Then comes the intermediate coat. It's thinner than the top layer but helps bring out a refined look. After drying and polishing again, the final coat is added. The topcoat is thicker. It gives the lacquerware its deep, rich finish. During this stage, they keep flipping the piece so the lacquer doesn’t settle or drip at the bottom.
Adding Decorative Designs
Once the lacquer is fully dry, it’s ready for decoration. Artists use different methods like maki-e, chinkin, raden, and silk screen printing.
Maki-e is hand-drawn. Designs are painted with lacquer and sprinkled with gold, silver, tin, or colored powders. Chinkin is engraved. They carve a pattern into the lacquer, rub raw lacquer into the lines, then press gold leaf into the grooves. Raden uses seashell inlays. Thin pieces of shell are cut and either pressed into the lacquer or glued on top. This technique came from China but became part of Japanese design long ago.
Silk screen printing is different. Instead of hand painting, they use a stencil and spray-paint the design. This method is faster and allows for larger batches.
Each of these steps matters. From the first cut in the tree to the final polish, the process mixes old methods with skilled hands to make something that lasts. Kishu lacquerware isn’t just painted wood. It’s layered, shaped, and detailed from start to finish.
7. Kyo lacquerware
Kyo lacquerware, or Kyo shikki, comes from Kyoto. It's been part of the city's culture for centuries. This type of lacquerware started developing alongside the Japanese tea ceremony. That connection gave it a quiet, simple beauty people often call wabi-sabi.
Unlike thicker types of lacquerware from other regions, Kyo lacquerware is thin and fine. The wood is lighter and more delicate, which helps highlight the skill that goes into making each piece. You can see the difference right away.
Not Just for the Table
Kyo lacquerware isn't only for food. You’ll find it in many parts of traditional Japanese life. It’s used to make chopsticks, bento boxes, and tea utensils like small tea caddies or hearth frames. Some pieces are made for storing tea ceremony tools. Others are for special occasions, like trays or letter boxes given as gifts. You’ll also see furniture made in this style, including cabinets, shelves, and vases.
Strong Despite Its Looks
It might look delicate, but Kyo lacquerware is tough. Unlike other types that use rice glue in the first layer, Kyo lacquerware uses a base coat that’s mostly lacquer. That makes it strong and long-lasting. But more lacquer means it takes longer to dry. It also makes the whole process more expensive. Still, the result is worth it.
Where It All Began
Lacquering in Japan goes back thousands of years. People were using lacquer during the Jomon period, which started around 14,000 BCE. But it didn’t really take off until the Muromachi period, between 1336 and 1573 CE. Kyo lacquerware has been around since 794 CE, growing alongside the rise of tea culture in Kyoto.
Maki-e: A Signature Style
One of the most well-known features of Kyo lacquerware is a technique called maki-e. This method started in the Nara period, between 710 and 794 CE. Artists sprinkled gold or silver powder onto wet lacquer to make patterns. Over time, they developed new versions of the style. During the Heian period, they added techniques like hiramaki-e and scraped maki-e to the mix.
By the Kamakura period, temples and nobles had started hiring maki-e artists. The designs changed with the times. Each era left its mark. During the Azuchi-Momoyama period, lacquerware became both elegant and bold. Samurai preferred rich designs, and the pieces from this time reflect that.
Later, in the Edo period, the look became more refined. It was still beautiful, but also more thoughtful. One artist, Koetsu Honami, made designs that were so original they inspired others. His work even shaped the style of Korin Ogata, whose techniques are still part of the Rimpa school of painting today.
Why Kyo Lacquerware Still Matters
Today, Kyo lacquerware continues to reflect centuries of Japanese tradition. It’s more than just decoration. It’s craftsmanship with deep cultural roots. Each piece carries a story — from ancient techniques to modern hands. And in a world full of fast production, Kyo lacquerware remains slow, careful, and full of meaning.
How Kyo Lacquerware Is Made
The process of making Kyo lacquerware takes time, skill, and patience. Each step is done by hand, and every detail matters. From shaping the wood to the final decoration, the work is slow but exact.
Preparing the Wooden Base
It all starts with the wood. The shape of the piece decides how the wood is cut. Bowls are made from round wood turned on a lathe. Flat shapes like trays or boxes use plate-shaped wood. For curved items like bentwood lunchboxes, a special steamed and bent wood called magewappa is used.
Different types of wood are chosen for different purposes. Cypress, cedar, zelkova, horse chestnut, and paulownia are the most common. Each has its own feel and strength, and artists pick the one that suits the design best.
Applying the First Layers of Lacquer
The first layer of lacquer does more than look good. It strengthens the base and helps the lacquer last. This step has many smaller parts.
To start, small grooves are cut into the wood grain to seal the seams. These are filled with a paste called kokuso, which blends lacquer with rice glue, wood powder, and cotton. This makes the surface strong and even.
Next, raw lacquer is brushed over the piece to seal the wood and protect it from moisture. Once this hardens, a layer of linen is added using lacquer paste. This stops the wood from thinning and adds more strength.
Then, a mixture of polishing powder, soil powder, lacquer, and water is added. This step helps smooth out the surface and build up the form. After that, a layer made from polishing powder, lacquer, and water is added to firm up the piece and prep it for the next stage.
Polishing and Mid Coating
After the base layers dry, the surface is rough. So it’s polished using a grindstone and water. Then, raw lacquer is rubbed in again and left to dry for at least a full day.
After that, lacquer in the same color is used for both a base and a middle coat. This gets polished again, this time with charcoal, to get a smoother surface. Because lacquer takes time to dry, the coating is applied lightly to avoid drips or uneven spots.
Final Coating
Before the last layer goes on, the lacquer is filtered through Yoshino paper to remove dust. This keeps the finish clean and clear.
Depending on the piece, different finishing styles are used. Some items are coated in glossy black lacquer using a method called shinnuri. Others use colored or clear lacquer to show off the grain of the wood underneath.
Dust Removal
After the final layer is applied but before it dries fully, small bits of dust are removed. Artists use bird feather quills to do this. Once the lacquer hardens, any dust left behind becomes permanent, so this part has to be done with care and good timing.
Black Lacquer Finish
That deep shine you see on lacquerware comes from polishing. It’s not just one step but a series. First, the surface gets rubbed with charcoal. Then oil polishing powder is used. Lacquer is added again and rubbed in with cotton.
This process is repeated a few times to build up a glossy, smooth surface. At the end, the piece is polished again with horn powder and canola oil to get that perfect finish.
Adding Decoration
The final step is decoration. Kyo lacquerware uses three main styles: maki-e, raden, and aogai.
Maki-e is the most well-known. It involves drawing patterns with lacquer, then sprinkling gold or silver powder on top. Within maki-e, there are different types. Hiramaki-e uses flat designs. Takamaki-e builds up the surface so the design stands out. Togidashimaki-e involves scraping the top layer to reveal the pattern underneath.
Raden is another traditional method. Thin pieces of shell are laid into the surface to give it a shine. Green turban shells are often used because of their rich color.
Aogai is similar to raden but uses even thinner layers of shell. Both techniques give the lacquerware a glowing, textured look that changes with the light.
Each step in this process builds on the one before it. The result is a finished piece that is strong, smooth, and rich in detail. Kyo lacquerware isn't just about function. It's a work of art made through steady, thoughtful craft.
8. Odawara lacquerware
Odawara lacquerware, or Odawara shikki in Japanese, comes from Odawara City in Kanagawa Prefecture. It's a traditional craft known for its sleek, glossy finish that brings out the natural beauty of the wood grain. These pieces look refined but are built to last. They hold up well over time, resist warping, and are made for regular use.
Two main techniques are used: kijiro nuri and suri urushi nuri. The process starts with shaping wood on a potter’s wheel. Then it’s coated with layers of lacquer and polished over and over until smooth. The lacquer comes from the sap of the lacquer tree. This raw lacquer is naturally antibacterial, waterproof, and heat-resistant. For colored finishes like deep black or bright vermilion, the lacquer is refined and layered to make it stronger and more vibrant.
Most of the wood comes from Japanese zelkova trees. This local wood helps keep the final product strong and less likely to bend or crack. Even after years of wear, these pieces can be recoated and reused, which adds to their value. That’s part of why they’ve stayed useful and popular.
How Odawara Lacquerware Began
The history of Odawara lacquerware goes back to the Muromachi period, which lasted from 1336 to 1573. It started when local craftspeople in Odawara began using high-quality wood from nearby Hakone and Izu forests. These workers used potter’s wheels to shape the wood into everyday items.
When Odawara Castle was being built, skilled lacquer artisans came to the area. They started applying lacquer to these wooden vessels, turning simple bowls and trays into durable, elegant items. That blend of woodworking and lacquer techniques gave birth to the Odawara lacquerware tradition.
During the Sengoku period, from 1467 to 1615, a powerful local leader named Ujiyasu Hojo pushed to improve this craft. He brought in even more skilled lacquer workers. That’s when the iro urushi nuri method was developed. This colored lacquer technique helped Odawara lacquerware stand out and gain recognition.
By the middle of the Edo period, which lasted from 1603 to 1868, this craft was fully established. The range of items grew. Makers started producing not just bowls and trays, but also weapon parts and other tools. The craft shifted from just practical use to include artistry and trade.
How It Became Popular
Odawara’s location helped boost its lacquerware. The town sat along the Tokaido Road, which was a key travel route between Kyoto and Edo (now Tokyo). Because of this, Odawara became a busy post town and a natural stop for travelers. People began buying the lacquerware as souvenirs.
These handcrafted pieces became symbols of Odawara. Their quality and design made them more than just household items. They became keepsakes that travelers brought home. This tradition of souvenir lacquerware still exists today, keeping the connection between craft and place alive.
Why Odawara Lacquerware Still Matters
Odawara lacquerware blends design with function. Every piece shows off the grain of the wood under a smooth, layered finish. It’s made using careful methods that have been passed down for centuries. And it still relies on local wood, local skill, and natural lacquer.
It’s practical. It lasts. And it can always be refinished when needed. That makes it a smart choice for both daily use and as a lasting handmade gift. The craft’s deep roots in Japanese history and culture only add to its appeal. Whether you're drawn to its look or its story, Odawara lacquerware continues to hold value today.
How Odawara Lacquerware Is Made
The process of making Odawara lacquerware takes time, skill, and patience. Every step, from shaping the wood to the final polish, matters. This is what gives each piece its strength and fine finish. Here's how it’s done.
Shaping the Wooden Core
It all begins with raw wood. Craftsmen choose from zelkova, castor aralia, mulberry, or horse chestnut, depending on the size and purpose of the final product. A design sketch is drawn directly onto the wood. Then, using a circular saw or band saw, they cut it into a rough form.
Next comes the drying phase. First, the wood goes into a smoke dryer for three to four days. Then it gets coated with glue to stop it from cracking. After that, it spends three weeks in an electric dryer. Once that’s done, it’s left to sit and air-dry naturally for anywhere from two to six months. This slow drying keeps the wood stable and prevents it from splitting later.
After drying, the wood is shaped using either a potter’s wheel machine or a router. Bowls and other round items are turned on the wheel. Boxes or unique shapes are carved with the router. The cutting blades are changed often to keep things sharp and precise.
Once shaped, the surface is smoothed. Water is applied to raise the grain slightly, and then the wood is polished with horsetail plant fibers. This helps create a clean, even base for the lacquer to bond to.
Applying the Lacquer
The lacquering begins with raw lacquer, also called urushi. This is brushed or spread over the wooden surface using a spatula or brush. It’s then wiped with a cotton cloth and placed in a humidity-controlled drying chamber. After a day or two, the process is repeated. Once dry, the piece is wet-sanded with a polishing wheel. This step settles the wood grain and helps the next layer of lacquer stick better.
This cycle of coating, drying, sanding, and wiping continues for seven or eight rounds. Each time, the surface becomes smoother, and the lacquer bonds more deeply with the wood. After the last layer is applied, it gets polished to a soft shine and wiped with a small amount of lacquer. Then it’s dried again for two to three days.
Transparent Lacquer Finish
For clear lacquer styles, the same base steps are followed. Raw lacquer is applied and rubbed in with cotton cloth. Then it’s wiped off. To create a slight rust tone, lacquer mixed with burnt clay is added. This is done twice. The piece is then left to dry for two to three days.
After drying, the surface is polished with a whetstone, fine sandpaper, or something similar. This step brings out the wood grain. Then, raw lacquer is applied again and dried. After that, a special transparent lacquer with no moisture is painted on and dried.
The clear lacquer is added in very thin layers. The base coat is polished, then the next coat goes on. The middle coat is also polished, then another thin, even layer of clear lacquer is added. Every coat must be clean, smooth, and free of brush marks. This layering creates a strong, see-through finish that highlights the natural texture of the wood.
To finish it off, the piece is wet-sanded and polished over and over with fine powder or polishing liquid. Once the final shine is achieved, the lacquerware is ready to use. The whole process can take weeks or even months, but the result is a handcrafted piece built to last.
9. Naruko lacquerware
Naruko lacquerware is a handmade craft from Osaki City in Miyagi Prefecture, Japan. Locals call it Naruko shikki. This style of lacquerware comes from the hot spring village of Naruko and has been made there for centuries. It stands out because of its traditional techniques and strong ties to the region.
Lacquerware in general means coating carved wood with layers of lacquer to make dishes, bowls, trays, and other items. Japan has many styles of lacquerware, but Naruko has its own look and process. The way it's made makes it both beautiful and long-lasting.
Lacquering Methods That Make Naruko Unique
One of the most well-known methods used in Naruko is called kijiro. This style uses a clear amber-colored lacquer that lets you see the natural grain of the wood. Over time, the more you use the item, the more the wood grain becomes noticeable. It ages well and gets better with use.
Another key technique is the ryumon coating. It was created in 1951 and gives the lacquerware a marbled look that almost seems to flow across the surface. This method uses a special ink marbling process that makes each item look different. Even though it’s newer compared to other styles, ryumon has become one of the main features that define Naruko lacquerware.
There are other traditional methods too. The fuki urushi method involves rubbing in layers of clear lacquer by hand. It brings out the natural feel of the wood while giving it a smooth surface. Then there’s benitame, a deep red lacquer style with a glossy finish that’s striking and rich in color.
No matter which method is used, Naruko lacquerware is always made from thick wooden bases. The wood is coated many times, which makes it solid and built to last. It’s not just pretty to look at. These pieces are made to be used every day and passed down.
The History Behind Naruko Lacquerware
The craft dates back to around 1624 to 1643. That’s over 350 years ago. During that time, Danjo Toshichika Date, who ruled the Iwadeyama domain in what’s now Miyagi, sent two artisans to Kyoto. Their names were Uhei Murata and Sanzo Kikuta. They went to study Kyo lacquerware, which is a famous style from Kyoto.
When they came back to Naruko, they brought those techniques with them. They mixed what they learned in Kyoto with their own local knowledge. That blend of styles became what we now call Naruko lacquerware.
By the late Edo period, people in Japan’s middle class were starting to visit hot springs more often. Naruko was a popular destination. Tourists came to relax, and while they were there, many bought local crafts. That helped Naruko lacquerware grow and reach more people.
During the Meiji period, the tools used to make lacquerware improved. Instead of two-person lathes, artisans started using foot-powered lathes that one person could control. This made the work faster and allowed them to create more types of products.
Later, in the Showa period, a local researcher named Goichi Sawaguchi introduced the ryumon technique, which gave the lacquerware its dragon-like marbled design. That style helped modernize the craft without losing its traditional roots.
Naruko Lacquerware Today
Today, a small group of skilled artisans in Naruko still make this lacquerware by hand. They use time-tested methods but also experiment with new ideas. Each piece is shaped by tradition, but there’s always room for personal touches. The result is a craft that keeps evolving while holding on to its deep history.
Naruko lacquerware is more than just a souvenir or a decorative object. It’s part of a long tradition of Japanese craftsmanship. It’s made to be used, touched, and lived with. It carries the texture of wood, the shine of lacquer, and the memory of the hands that made it.
How Naruko Lacquerware Is Made
The process behind Naruko lacquerware is long, detailed, and done mostly by hand. Every piece takes time, care, and a lot of skill. The steps listed here show exactly how each item is shaped, coated, and finished.
Shaping and Prepping the Wood
It starts with solid, dried wood. This wood is cut into square blocks, then roughly shaped into what the final piece will be. Bowls, cups, and other round pieces are shaped on a lathe. The wood is spun while blades of different sizes carve it down. This part is done by trained woodturners, not the lacquer artists.
Once the shape is ready, the wood is dried again. Then it’s smoothed out, hardened, and sealed. Any small gaps, dents, or joints are filled with a mix that includes raw lacquer called kokuso. This seals the surface and gets it ready for the first full coat of lacquer.
The entire piece is then covered in raw lacquer and left to dry. This makes the wood stronger and easier to coat. After that, a process called rusting begins. In this step, a thick mixture made of polishing powder, lacquer, and water is used to fill in any remaining holes or uneven spots. The piece is dried for a full day after each application. Rusting is repeated several times to fully smooth and reinforce the surface.
Sanding the Surface Smooth
After rusting, each item is sanded using water. This step is called rust polishing. It gets rid of bumps and flattens the surface so the lacquer will go on clean. Once sanded, the piece is coated again, dried, and polished. These steps are repeated to build up a strong base. This early stage matters because it decides how tough the finished product will be. It also affects the final price and quality, even though none of it shows once the item is done.
Applying the First Lacquer Coats
Now comes the intermediate coating. This is when the actual lacquer starts going on. The lacquer used at this point is colored to match the final surface tone. The coating is evened out and dried in a rotating chamber that helps keep the finish clean and smooth.
After it dries, the surface gets polished again just like before. This helps keep everything flat and allows the next layer to stick better. The intermediate coating and polishing steps are repeated a few times. This brings out the clear shine and depth that lacquerware is known for.
Final Coating and Finish Work
The last stage is the final coating. This step is what gives the piece its polished, glossy look. High-purity lacquer is used here, and it’s applied in a clean room to avoid dust or particles. The techniques in this step change depending on the finish.
Hana-nuri is one method that gives the piece a deep shine without needing extra polishing. Roiro-nuri is another. It uses a black lacquer called roiro-urushi to create a mirror-like surface.
Once the last coat is fully dry, any decorations are added. Naruko lacquerware often looks complete even without them, but some pieces feature maki-e. This decoration uses gold or silver dust to make patterns, adding rich detail and color.
Each finished piece shows a balance between tradition and craftsmanship. Every step in the process, even the ones you don’t see, plays a big role in how strong and beautiful the final lacquerware becomes.
10. Niigata lacquerware
Niigata lacquerware, or Niigata shikki, comes from the area around Niigata City in Japan's Niigata Prefecture. This type of lacquerware stands out because it uses a wide range of finishing styles, each with its own look and feel. You'll find techniques like hana-nuri, ishime-nuri, nishiki-nuri, isokusa-nuri, and take-nuri. Each brings something different to the table.
Hana-nuri is clean and simple. There are no patterns. Just a smooth, glossy finish that shows off the natural beauty of the piece. Ishime-nuri has a rough surface that looks like stone. It feels tough and is made to resist scratches. Nishiki-nuri is more detailed. It uses colored lacquer applied with a wad of hemp cord. After polishing, the layers show a speckled pattern with rich texture. Isokusa-nuri works in a similar way but uses a flat, board-like tool. The result is a flowing pattern that looks like seaweed moving in water. Take-nuri is probably the most famous. It gives the piece a bamboo-like look, using lacquer to draw details like bamboo joints and smoky shading.
There are even more traditional styles like kinma-nuri, seido-nuri, aokai-nuri, roiro-nuri, and shitan-nuri. On top of that, newer methods like yuhi-nuri keep the craft evolving. This wide mix of techniques is part of what makes Niigata lacquerware unique.
Where Niigata Lacquerware Began
Niigata has long been a trading hub. Goods from all over Japan and beyond came in by land and sea. Lacquerware came with them, and Niigata started making its own. Records show that between 1615 and 1624, the craft took root here. It started when artisans brought a method called shunkei-nuri from Akita Prefecture. At first, they made basic household items like trays and small plates.
In 1638, Niigata set up a special area for selling lacquerware, called Wandana. This helped secure production and gave the craft a solid base. By the mid-1700s, things picked up again. Between 1764 and 1771, the technique of maki-e came in. That added decoration using gold or silver powder. At the same time, Niigata craftsmen began coming up with their own styles, like isokusa-nuri and kinma-nuri. These local techniques used bold patterns and colored lacquer applied with carved designs.
During the Edo period, cargo ships sailing the Sea of Japan would stop at Niigata’s port. That gave local makers a way to sell their work across the country. Tokyo, Osaka, and other big cities became regular buyers. By the late 1800s, Niigata had become Japan’s top area for lacquerware.
Take-Nuri and the Craft’s Ongoing Legacy
In the mid-Meiji period, around the late 1800s, take-nuri became a big deal. This was the technique that really came to define Niigata lacquerware. The bamboo-style look made it instantly recognizable and helped it stand apart from other regional styles.
Niigata lacquerware owes its variety to both outside influence and local creativity. Over time, craftsmen studied methods from other parts of Japan, adapted them, and developed new ones. The result is a craft rooted in tradition but always open to change. Every piece reflects the skill, care, and pride of the makers who keep the practice alive.
How Niigata Lacquerware Is Made
Starting with the Wood
The first step is treating the wood so it can hold up over time. Craftsmen brush raw lacquer onto the surface. The wood soaks it in, which makes it water-resistant. If the piece has joints, they get extra support. A cloth is attached using noriurushi, which is a mix of raw lacquer and rice paste. If there are any chips, cracks, or deep scratches, the surface is patched using kokuso. This filler is made from raw lacquer, cooked rice paste, wheat flour, and fine wood powder. It dries into a strong, dense material that blends into the base.
Laying Down the Rust Lacquer
Once the wood is solid, a layer called rust lacquer gets added. This is made by mixing raw lacquer with either jinoko, which is baked and refined diatomaceous earth, or tonoko, a powder left over from cutting grit stone. This blend forms a thick clay-like paste. It's spread across the entire piece using a flat tool like a spatula. After it sets and hardens, the surface is sanded with wet whetstones or waterproof sandpaper to get it smooth. This step might be done more than once to build up strength and keep the shape stable.
Shaping the Bamboo Details
With the base prepared, the next step is giving the piece its bamboo-like features. More rust lacquer is applied with a special spatula to create raised lines that mimic bamboo joints. The grooves between those joints are cut out with a chisel to shape them clearly. To add even more detail, craftsmen form bamboo branches or root-like lines by hand using the same rust lacquer mix.
Sanding Everything Down Again
Once those raised areas and shapes have dried, the surface gets polished again. Wet sanding tools are used to smooth everything out without damaging the shape. This leaves the piece with clean lines and an even surface, ready for color.
Adding Color with the Intermediate Coat
Now it’s time for the base color. The artisan picks from different tones like green bamboo, soot-colored bamboo, or sesame bamboo, depending on the final look they want. A fine brush is used to apply the colored lacquer. After coating, the piece is placed in a cellar where the air is controlled. Lacquer only dries well in the right conditions. So the cellar is kept at about 70 percent humidity and 20 degrees Celsius to make sure the finish hardens properly.
Polishing the Color Layer
Once the colored lacquer is dry, the surface gets one final sanding. Wet whetstones or waterproof paper are used again to smooth and even out the coating. This step brings out the shine and texture that Niigata lacquerware is known for. Each layer, from the base to the final polish, is done with care to keep the look sharp and the quality high.
Final Coating for Color and Depth
The last round of lacquering starts with another layer of color. These top coats use the same tones as before—green bamboo, soot-colored bamboo, or sesame bamboo. For green and sesame bamboo, the same lacquer blend from the earlier layer is used again. But for soot-colored bamboo, the mixture changes a bit to create a deeper, more refined finish.
This final layer gets brushed onto every surface. After that, each piece is placed back in the cellar to dry. For sesame bamboo finishes, there's an extra step. Before the lacquer fully dries, a fine layer of sifted charcoal powder is sprinkled onto the surface. This adds a unique texture and helps bring out the natural tone once dry.
Polishing the Final Layer
Once the final coat has set, the piece is wet sanded again. Waterproof sandpaper or whetstones are used to smooth the surface one last time. This step evens out the finish and preps the surface for detailed work.
Adding the Bamboo Texture
To make the piece look like real bamboo, patterns are carefully added. Lines that mimic bamboo joints are either drawn in after sanding or applied while the last coat is still wet. Different parts of the piece may get different patterns, depending on the design. To show cross-sections or cut ends of bamboo, craftsmen use thick lacquer and shape it with a brush or spatula. Small dots or prickles that appear around natural bamboo nodes are painted on with a fine maki-e brush.
Shading with Makomo
To give the bamboo finish a soft, smoky look, transparent lacquer is brushed around the joint areas. While this layer is still slightly wet, a powder called makomo is sprinkled on. It's made from dried, crushed Manchurian wild rice, a grassy plant. When making pieces in a full soot-colored style, the whole item gets a light dusting of makomo. Once that’s done, the piece goes back into the drying cellar.
Sanding the Makomo Surface
After drying, the surface is polished again. This time, it’s done using a brush and a mix of water and very fine charcoal powder. The goal here is to remove the extra makomo while keeping the soft texture it leaves behind. This gives the bamboo nodes a natural, shaded look.
Final Lacquer Rub and Finish
The last step is rubbing in raw lacquer. This is done by hand, working the lacquer into the full surface of the piece. After each rub, it goes back into the cellar to dry. The process is repeated several times. This builds up a smooth, glossy surface and seals in all the fine details.
Finished Piece
Once everything is dry and polished, the piece is complete. Each step builds on the last, from the base coat to the final rub. What you get in the end is a finished product that looks like real bamboo, made through careful layers of traditional lacquerwork and years of skill.
11. Murakami carved lacquerware
Murakami carved lacquerware, known in Japan as Murakami Kibori Tsuishu, comes from Murakami in Niigata Prefecture. This town has a long history with lacquer. Since the Heian period, over a thousand years ago, the area has been known for producing high-quality natural lacquer. Murakami was once a castle town, and it became a center for skilled lacquer carving and finishing.
This lacquerware stands out for how strong and long-lasting it is. What makes it special is how the finish changes over time. The more you use it, the deeper the shine becomes. This isn’t a product you’re just meant to display on a shelf. The real beauty shows only after years of everyday use.
How Murakami Lacquerware is Made
The technique used in Murakami Kibori Tsuishu has roots in a Chinese method called tekko. In tekko, artists would carve into thick layers of dried lacquer. But in Murakami, they do it differently. Here, the carving is done straight onto the wood before any lacquer is added. This saves lacquer and gives artists more control over the design. They can create sharper lines, deeper grooves, and more detailed patterns.
Each piece is coated several times with a thick type of lacquer. But they make sure not to let the lacquer fill up the carved grooves. That helps the designs stand out clearly. After this, there’s a step called delustering. It gives the piece a soft, matte finish at first. Over time, though, the surface starts to glow with a gentle shine as it’s handled and used.
The Origins of the Craft
This craft has been around for about 600 years. It started in the Muromachi period when a craftsman from Kyoto came to Murakami to help build a temple. He brought the technique with him, and it caught on. During the Edo period, the local lords supported the craft. They even appointed a lacquer magistrate in the late 1600s to oversee the process and encourage more lacquer tree farming.
In the 1700s, the red (tsuishu) and black (tsuikoku) lacquerware styles we see today began to develop. By the 1800s, even Murakami samurai were getting into the craft. When they traveled to Edo, they picked up new lacquer carving techniques. Then they brought those skills back home and added them to the local style.
Shusai Ariiso and the Craft's Growth
In the late Edo period, one man helped shape the Murakami style into what it is now. His name was Shusai Ariiso, born in 1809. He was the second son of a temple carpenter, Hachirobe Inagaki. He trained under his father, but what he really loved was sculpting. So he went to Edo to study both carving and lacquer techniques.
There, he learned the skills of tsuishu and tsuikoku. He also started using Chinese-style sketches and mixed in elements from Kamakura-bori, another carving method. By blending all these styles and improving the detail and finish, Ariiso helped define what Murakami Kibori Tsuishu became.
Why Murakami Lacquerware Still Matters
Today, Murakami lacquerware keeps that same spirit. It’s not about quick decoration. It’s about daily use, slow change, and quiet beauty. The more you handle it, the more it reflects that time. It doesn’t just stay the same. It grows with you. That’s what makes it more than just a craft. It’s something that lives through the years.
How Murakami Carved Lacquerware Is Made
The production of Murakami Kibori Tsuishu is a detailed, time-heavy process. Every step matters. It’s not just about how it looks but how it holds up over time. Here's how each piece is crafted, from raw wood to finished lacquerware.
Shaping the Wooden Base
It all starts with dry, seasoned wood. Craftsmen use magnolia and Japanese horse chestnut. These woods are soft enough to carve but strong enough to last. Each piece is shaped into its final form at this stage.
Drawing the Design
Once the base is shaped, it moves to the carver. This is when the design gets drawn by hand. Common patterns include flowers, birds, and peonies. Sometimes landscapes are used too. These designs are done straight on the wood, not on paper.
Carving the Pattern
After the design is sketched, the carving begins. A small tool called an urajiro chisel is used to carve the pattern right into the wood. The cuts are sharp and detailed. This gives the surface its depth and texture.
Smoothing the Surface
Next, the wood goes to the lacquer craftsman. The carved areas get smoothed out with sandpaper. This helps the lacquer stick better. In the past, they used horsetail grass instead of sandpaper. It worked the same way, but took longer.
Hardening the Wood
After smoothing, a coat of raw lacquer mixed with red iron oxide is applied. This fills tiny holes in the wood and makes the base harder. It also acts as a sealant. Then, the patterns are undercoated and the surface is leveled.
Adding Rust Lacquer
Next, they coat the non-carved sections with a mix of raw lacquer and polishing powder. This is done two or three times to build up the surface and prep it for polishing.
Polishing the Rust Layer
Each coat of rust lacquer is polished with a whetstone. It’s a wet process. The goal here is to even out the surface before moving on to more lacquer coats.
Intermediate Lacquer Coat
Once the base is smooth, the craftsman applies an intermediate lacquer coat. This part needs care. The lacquer is dabbed on using either fingertips or a small pad made of cotton and rubber. That keeps the lacquer from running into the carved grooves. After that, they brush over it lightly.
Sanding the Intermediate Coat
Once it dries, the surface is sanded again. This time, they use a fine-grained whetstone made in Murakami. Both the flat areas and the carved parts get this treatment. It preps the surface for the final coat.
Final Lacquer Coating
The final lacquer layer is made of bright vermillion lacquer. It’s applied just like the one before, using a pad or fingertips, then finished off with a brush. This coat gives the ware its signature color and shine.
Delustering the Surface
After the last coat, the lacquer is polished to create a matte look. Craftsmen use charcoal and fine powder to dull the shine. This gives it a soft finish, not too glossy, almost like the glow of moonlight.
Engraving the Fine Details
Once delustered, the piece goes back to the carver. Now it's time for the smallest details. With a sharp triangular chisel, the carver adds hair-thin lines. These can look like leaf veins or strands of fur. This step adds texture and contrast.
Final Lacquer Rubbing
The last step is rubbing in raw lacquer. The entire piece gets coated again with a thin layer. This tightens the outer surface and gives it a finished look. Once this dries, the work is done.
Every piece of Murakami lacquerware is touched by many hands. It takes patience, skill, and time. That’s what gives it lasting value. It's built to be used, not just displayed. And the more it's used, the better it looks.
