Lacquerware’s Art and Craft

Lacquerware, known in Japanese as shikki, is more than just a craft. It’s a form of fine and decorative art. Lacquer has been used in urushi‑e paintings and prints. It also appears on everyday objects like bento boxes and on sacred Buddha statues. This ancient art touches a wide range of items.

The stand‑out feature of Japanese lacquerware is its use of maki‑e. In maki‑e, metal powder is sprinkled onto wet lacquer. This creates shimmering designs that catch the eye. Over time, artisans invented many maki‑e techniques. These techniques boosted artistic expression. As a result, tools and artworks, such as into, became richly ornamented.

In Japanese, you’ll find several names for lacquer and lacquerware. “Shikki” literally means lacquer ware. “Nurimono” refers to coated things in general. “Urushi‑nuri” means lacquer coating. Beyond Japanese, terms like Japanning, urushiol, and maque (in Mexican Spanish) also trace back to this tradition.

Ancient Roots of Japanese Lacquerware

Lacquer has a deep history in Japan. Scientists dated lacquer trees in Japan back to 12,600 years ago, during the Jōmon period. They used carbon dating on a lacquer tree from the Torihama shell mound. That makes it the oldest lacquer tree known in the world, as of 2011. Lacquer use in Japan goes even further back, to around 7000 BCE in the Jōmon era.

One of the earliest lacquered items appeared at the Kakinoshima “B” site in Hokkaido. They found ornaments woven with red lacquered thread in a Jōmon grave. At Kakinoshima “A,” they uncovered earthenware with a vermilion lacquer spout. It dates back about 3,200 years and was nearly intact.

The Jōmon people likely invented lacquer methods from scratch. They learned to refine urushi, a sap from poison oak. That process took months. To make red lacquer, they mixed iron oxide (colcothar) and cinnabar (mercury sulfide). They used lacquer on pottery, wooden objects, and even burial clothes. Scholars disagree on whether Japanese lacquer came from China or was independently born in Japan. Some, like Mark Hudson, argue the technology started in Japan and did not come from China.

Tamamushi Shrine: 7th‑Century Japanese Lacquer Masterpiece

One standout ancient lacquer object is the Tamamushi Shrine from the mid‑seventh century CE. It’s made of lacquered hinoki (Japanese cypress) and camphor wood. Scholars once called the images “urushi,” but since the Meiji era, some argue they’re done using mitsuda‑e. That’s an early oil‑painting style, using perilla oil and litharge to dry it out.

China’s Early Influence and Japan’s Own Twist

Many Japanese lacquer crafts started under China’s influence. Over time, they grew into their own styles and innovations. Japan took inspiration first, and then shaped its distinct artistic identity.

Heian Period: Maki‑e Techniques Take Shape

From 794 to 1185, Japan developed its signature maki‑e techniques. Drawing with gold powder mixed in lacquer existed elsewhere. But Japan perfected a method of laying lacquer then sprinkling gold, silver, or copper powders on top. After polishing, the metals gleamed. During this era, togidashi maki‑e was invented and refined. In the late Heian era, hira maki‑e also emerged.

Kamakura Period: Nakui Wood Sculpture and New Maki‑e Styles

Between 1185 and 1333, Japan was exposed to Chinese Song‑dynasty carved lacquer. Instead of following that path, Japanese artisans created Kamakura‑bori: carving wood before coating it in lacquer. This period also saw the finalization of hira maki‑e and the birth of taka maki‑e (raised metallic designs atop lacquer).

Muromachi Period: Complex Maki‑e and Global Reach

During 1336–1573, Japan introduced shishiai‑togidashi maki‑e, a masterful, high‑skill version of maki‑e. Carved lacquer evolved with new raised techniques using grinding stones and clay powders. Japanese lacquerware was shipped widely across East and Southeast Asia, even reaching India. It gained favor as luxury gifts at courts. In 1616, Sir Thomas Roe noted that Chinese and Japanese lacquer items were prized at the Mughal court of Emperor Jahangir.

Chinese Recognition and Imperial Appreciation

In China, Ming and Qing dynasties referred to Japanese lacquer as “yangqi,” meaning foreign lacquer. Records like A Record of Decoration with Lacquer mention Japan’s role in developing maki‑e. During Ming emperor Xuande’s rule, scholars studied Japanese lacquer methods. A Japanese artist even visited China’s imperial workshops. Qing’s Yongzheng Emperor developed a strong interest in yangqi. That influence showed up in many lacquer items from his era’s workshops.

Japanese Lacquerware Reaches the West

During the Azuchi‑Momoyama period (1568 to 1600), Japanese lacquerware traveled beyond its homeland. It crossed the Pacific aboard Manila Galleons and entered Europe through Nanban trade. European aristocrats and missionaries admired it. Japan responded by exporting Western‑style chests and church furniture tailored to their taste. At the same time, hira maki‑e, a flat sprinkling of metal powder, boomed due to mass production.

Edo Period Growth and Innovation

The Edo period (1603 to 1868) brought a boom in lacquer tree cultivation and technique development. By the 18th century, colored lacquers gained popularity. Cultural and economic growth lifted the design and quality of lacquered furniture. Artists Hon’ami Kōetsu and Ogata Kōrin introduced Rinpa painting styles into lacquerware. Mid‑Edo, into (small, decorated carrying cases) became a symbol of status. Wealthy merchants and samurai prized inro for their meticulous lacquer designs. European royalty like Marie Antoinette and Maria Theresa collected Japanese lacquerware. Their pieces are still shown in the Louvre and the Palace of Versailles. In this era, the refined technique known as shishiai‑togidashi maki‑e took hold.

Meiji Era and Modern Revitalization

The economic slowdown of the early 19th century reduced demand for gold and silver‑adorned lacquer. But in the Meiji era, artists renewed interest in the medium. They explored fresh designs, textures, and glossy finishes. Shibata Zeshin rose to fame and is often called Japan’s greatest lacquerer. His work stood out for its original motifs rather than flashy metal inlays. He began framing lacquer panels like Western oil paintings. Around the same time, Nakayama Komin and Shirayama Shosai preserved traditional styles rooted in East Asian landscape art. Maki‑e remained the go‑to technique for high‑end pieces.

Fusion Techniques and Global Appeal

Back in the Edo period, around the 1770s, a fusion style called Shibayama emerged. It used lacquer, gold, silver, shell, ivory, coral, tortoise shell, ceramics, and other materials in ornate, layered decorations. It’s named after Shibayama Senzo, originally Onogi Senzo, whose family introduced the style in Edo. This method carried into the Meiji period. It offered faster and cheaper ways to make lavish lacquerware. Meanwhile, Somada ware appeared in the 1670s. It featured intricately cut shell pieces and gold or silver leaf in precise patterns. These richly decorated items drew domestic fans and Western collectors enthralled by Japanese art.

The Japanese government recognized lacquerware’s soft power and boosted its presence in world fairs. Japanese lacquer gained a reputation for unmatched technical quality on the global stage.

 

20th Century and New Decorative Moves

After the Meiji era, a fresh wave of lacquer artists moved away from photo‑realism in favor of stylized plant imagery. These designs carried Japanese lacquerware into the modern era, blending tradition with a clean, contemporary aesthetic.

Revival of Japanese Lacquerware

In recent years, the Japanese government has stepped in to revive lacquerware. It does this by naming master craftsmen as Living National Treasures. Makers like Gonroku Matsuda and Kazumi Murose got this honor. The government also supports new urushi workshops. These moves help bring the art back to life.

One of the finest lacquer techniques, especially for inro, nearly vanished as Japan westernized. But in 1985, Tatsuo Kitamura opened his studio, Unryuan. He brought back that lost skill. His lacquer art is now in global museums like the Victoria and Albert Museum in London and the 21st Century Museum of Contemporary Art in Kanazawa. His works draw collectors around the world.

Craft Meets Tech: A New Chapter

In 2024, Japan launched the Craft x Tech Tohoku Project in Tokyo. The aim is to rejuvenate traditional crafts. Designers, technologists, and artisans team up to blend craftsmanship with modern design. Participating lacquer artists include Kawatsura‑Shikki from Akita and Tsugaru‑Nuri from Aomori. Their creations debuted at Art Basel and Design Miami. They also showed their work at the Victoria and Albert Museum during the London Design Festival in 2024.

This fusion of old techniques and new ideas is putting Japanese lacquerware back on the global stage.

 

Techniques and Processes Behind Lacquerware

Making lacquerware starts simple. First, you shape an object. It can be wood, leather, paper, or woven basket. After you form it, you apply layers of lacquer. This seals and protects the piece. Then comes decoration. Typically, craftsmen use three coats: undercoat, middle coat, and final coat. The final layer is often clear lacquer, not black. That helps the decoration shine through.

Besides black and red lacquer, artisans use inlay materials. You’ll see shells, mica, or similar items embedded in the surface. Gold powder is sprinkled on lacquer in a process called maki‑e. That is a signature Japanese decoration style.

Here are some classic methods:

ikkanbari

This paper lacquer technique is used for tea items. It was invented by Hiki Ikkan in the early 1600s. Craftsmen press layers of lacquered paper into molds. The result is a strong, lightweight vessel.

iro‑urushi

This means “color lacquer.” Artisans mix pigments into clear urushi. Before the 1800s, only five colors were used: red, black, yellow, green, and brown. Later, new colors came from Western pigment imports. A key innovator was Shibata Zeshin. He didn’t only use pigments. He added other substances to lacquer. He could mimic gold or silver effects. That was useful when real metals were restricted by the government.

shunkei‑nuri

With this method, natural wood grain remains visible. Craftsmen stain wood yellow or red, then apply transparent lacquer on top. The technique was developed in Sakai during the reign of Emperor Go‑Kameyama between 1368 and 1392. It later grew popular in 17th‑century Takayama, Hida, especially for tea utensils.

urushi‑hanga

Created by Hakuo Iriyama, this is lacquer printmaking. First, an artist builds a plate from dry lacquer. Then they carve the design and use it like a woodblock. Instead of paint, pigmented lacquer transfers the image onto paper.

 

Let's talk more about the techniques and be more specific:

Maki e Metal Powder Artistry

Maki e means “sprinkled picture.” It’s the main technique in Japanese lacquer decoration. Artisans draw designs with lacquer on a finished lacquerware surface. Then they sprinkle metal powder (gold, silver, copper, brass, lead, aluminum, platinum, pewter, and alloys) onto the wet lacquer. They use bamboo tubes or soft brushes to carefully apply powder. Young artists train for years to master this fine work. Makers like Kōami Dōchō (1410–1478) and Igarashi Shinsai started major lacquer schools based on their styles.

This technique is split into three main styles. Hiramaki e (flat maki e) has powder sprinkled on wet lacquer, then coated with another layer. It gives a smooth, flat sheen. Takamaki e (raised maki e) builds a raised design through repeated layers. Sometimes charcoal, sawdust, or clay is used beneath to heighten the relief. Togidashi maki e (polished maki e) covers the original maki e in several lacquer layers and polishes them down until only the design is revealed.

There’s also shishiai togidashi maki e, a mix of raised and polished maki e. All these maki e styles are done after applying a strong lacquer foundation. Wood or paper core is coated, dried, polished, and layered many times before decoration begins.

Maki e often pairs with other techniques. Raden embeds nacre shell. Zōgan inlays metal or ivory. Chinkin carves shallow grooves, then fills them with gold leaf or powder. These combinations create layered depth and visual richness.

Mexican Maque and Cultural Fusion

The Mexican word maque comes from Japanese maki e. Japanese lacquerware reached Mexico via Manila galleons during the Namban period. Mexican artisans then merged pre-Hispanic, European, and Asian influences. The resulting Mexican lacquerware, called maque, reflects a rich fusion of artistic traditions.

 

Hira maki-e: The Flat Sprinkled Gold Technique

The first step in hira maki-e starts with okime, a sketching method. An original design is drawn on paper. Then thin washi paper is placed on top. The outline is traced through the washi. Next, lacquer is painted onto the outline on the washi with a fine brush. The paper is pressed onto the lacquerware surface to transfer the design. If the design is simple, this step may be skipped.

After that comes jigaki, the prep stage for applying metal powder. Lacquer is painted where the powder will go. It acts like a glue. Then funmaki happens, where metal powder is sprinkled using a bird feather shaft or bamboo tube. After sprinkling, lacquer is painted over the metal powder to seal and protect it. The piece is left to dry.

Once dried, the funtogi process begins, which is the first polish. The lacquer is lightly polished to reveal only the surface of the metal powder, which remains embedded beneath. After that, abrasive polishing refines the entire piece using different grit sizes. Between each polishing, artisans use suriurushi, a process of rubbing lacquer onto the surface and drying it. These repeated lacquer applications and polishes build a glossy, durable finish.

Hira maki-e is the simplest maki-e style. It emerged in the late Heian period, after togidashi maki-e evolved. This style was perfected by the Kamakura period, once artisans learned to make finer metal powders. Hira maki-e grew popular during the Azuchi-Momoyama period, when craftsmen needed a method suited for mass production of decorative lacquerware.

 

Togidashi maki-e: The Polished Overlay Technique

Togidashi maki-e follows the same early steps as hira maki-e through funmaki, where metal powder is applied and sealed with lacquer. But after sealing, the process changes. In togidashi maki-e, the entire piece, including the decoration, is coated with a layer of black lacquer in a step called nurikomi. The lacquer covers both design and background.

Once the black layer dries, the piece is polished until the metal powder design reappears through the lacquer. The polishing process mirrors that of hira maki-e, using progressively finer abrasives. Between these steps, lacquer rubbing and drying continue. But the sequence differs to ensure a unified, polished surface.

Because the whole surface is coated and polished down, togidashi maki-e yields a smooth finish. The metal powder stays secure and less likely to flake compared to hira maki-e. This method was perfected during the Heian period. It remained dominant until the late Heian era, when refinements in gold and silver powder allowed for finer techniques.

Some experts trace maki-e origins back to the Nara period. A sword scabbard stored in the Shōsōin uses a similar method called makkinrusaku. That suggests Japanese maki-e might be even older than previously thought.

 

Taka maki-e: Raised Design with Lacquer and Powder

Taka maki-e uses a thicker type of lacquer. To make it, lacquer is mixed with powders like charcoal or minerals. This creates a paste with more body. That thicker mixture is then used to draw raised designs on the surface. Once the raised pattern dries, the same steps used in hira maki-e are applied over it. The metal powder gets sprinkled on, sealed with lacquer, and polished.

The specific name of this technique can change depending on the type of powder used. If charcoal powder is added, it's called sumikoage-taka maki-e. If tin powder is used, it's called suzuage-taka maki-e. This raised lacquer style started in the middle of the Kamakura period. By the Muromachi period, artisans pushed it further. They developed a version called sabiage-taka maki-e. In that one, lacquer was mixed with powdered clay or whetstone. These heavier materials let them build higher, more detailed raised patterns.

 

Shishiai togidashi maki-e: Raised and Polished Composite Style

Shishiai togidashi maki-e blends two approaches. First, a raised pattern is made using the taka maki-e method. Then it goes through the finishing process of togidashi maki-e. Unlike standard togidashi, though, the surface doesn't turn completely smooth. That’s because the raised areas from the taka maki-e stay pronounced, even after polishing.

This is the most complex maki-e method. It takes more time and skill than the others. It came about during the Muromachi period and became more common in the Edo period.

Types of Metal Powder Used in Maki-e

The size and shape of metal powder matter in maki-e. These powders fall into three main types.

The first type is keshifun maki-e, which uses very fine powder. It’s easier to apply, but it doesn't stick well. The color tends to look pale or dull because the powder doesn’t reflect light much.

The second type is hiragime or hiragoku maki-e. These use medium-sized flat particles. They’re a balance between ease of use and shine.

The third is marufun, also known as hon maki-e. This one uses large round powder grains. These are harder to work with, but they’re more durable. They reflect light in lots of directions, so they look brighter and more intense than the others.

 

Urushi‑e: The Lacquer Picture Art of Japan

Urushi‑e, meaning lacquer pictures, covers three main techniques in Japanese art. It includes woodblock prints, painted lacquered objects, and lacquer paintings on paper or silk. Each method brings lacquer into visual storytelling.

In woodblock printing, urushi‑e involves hand‑painting rather than pressing lacquer through the block. This lets artists layer vibrant colors over the print. When it first appeared, five lacquer pigments were common: brown, yellow, green, red, and black. Some folks used nikawa, an animal‑glue ink, to replicate lacquer’s glossy sheen. This shininess often highlighted elements like hair or kimono belts. Gold leaf and metallic powders also showed up in urushi‑e prints. Mica and metal dust added sparkle and value. This style peaked in early 18th‑century Edo, embraced by many artists.

Urushi‑e also refers to painting with colored lacquer mixed with pigments. The Jōmon people used this as far back as 7000 BCE. The Nara period in the 8th century saw red lacquer pop against black backgrounds. Before the 19th century, natural pigments limited colors to just a few hues. Red, black, yellow, green, and light brown were the main shades.

The 19th‑century painter Shibata Zeshin shook things up. He broke new ground using lacquer on scrolls, furniture, and boxes. He mixed lacquer with substances that imitated metals like gold, iron, bronze, and copper. He even created textures that resembles Western oil painting. His experiments pushed lacquer painting into fresh directions.

Several other artists adopted urushi‑e methods. Torii Kiyonobu I from the Torii ukiyo‑e school crafted lacquered woodblock prints. Torii Kiyomasu did the same, using the five classic pigments. Nishimura Shigenaga added brass powder to some of his works. Okumura Masanobu also explored urushi‑e during the Edo era. Together, these artists shaped lacquer painting into a lasting legacy.

 

Raden: The Pearl Inlay Technique

Raden is a Japanese term that refers to a specific inlay technique. It comes from the Chinese words ra (螺) for shell and den (鈿) for inlaid. This old method embeds thin layers of mother-of-pearl into carved lacquer or wood surfaces. Craftspeople use it to create shimmering designs that catch light and color.

The technique began in China during the Zhou dynasty. It spread across East Asia and is known by different names. In Korea, it’s called najeonchilgi. In China, it’s luodian. You’ll also see it in Southeast Asia, such as Vietnam, and even in modern Western arts. Raden refers only to shell inlay. When artisans insert metal, ivory, or other materials, it’s called zōgan.

Three Main Methods of Raden

Craftspeople categorize raden into three main styles: atsugai, usugai, and kenma. Atsugai uses thick shell pieces. Artisans cut those pieces with a scroll saw, then smooth them with files or grindstones. Usugai uses much thinner shell layers. Craftspeople punch the pieces out using a template and specialized tools. Kenma uses the thinnest shell applications. It works like usugai, just finer.

How Craftspeople Apply Raden

Different techniques exist for embedding shell inlay. Thick pieces often go into pre-carved indentations. Thin pieces may be pressed into thick wet lacquer. Another approach is to glue the shell in place, then coat it with lacquer. Sometimes artists use acid washing, followed by polishing and re-lacquering, to achieve unique visual effects.

Craftspeople often combine raden with maki-e. That means decorating lacquer with gold or silver powder to enhance visual contrast and shine.

Ancient Origins and Cultural Spread

Raden’s roots may trace back thousands of years. Craftspeople used this basic inlay method in Egypt around 3500 BCE. It later moved along the Mediterranean and into Asia. One theory holds that Sasanian Persia introduced this art to Tang dynasty China. Another suggests independent invention during China’s Shang period. Most scholars lean toward the Persian-to-China route.

By the Tang dynasty, China perfected luodian inlays. They added shell to lacquered bronze mirrors. Archeological digs in Shanxian County and Luoyang, Henan Province, have uncovered these ornate mirrors from Tang-era graves.

Raden Arrives in Japan

Japan adopted the technique during the Nara period, calling it raden using the same characters. Craftspeople in the Heian period began blending raden with native maki-e decoration. These combined styles produced stunning lacquer art. Yet by the Muromachi period, raden’s popularity declined.

Raden and Nanban Lacquerware in Global Trade

During Japan’s Sengoku and Azuchi-Momoyama periods, lacquerware caught the attention of Europeans. Artisans used both maki-e and raden to decorate these pieces. The works were in high demand, especially through the Nanban trade. The Portuguese and Spanish acted as middlemen, often trading on behalf of the Society of Jesus. Raden was a key feature in these exports. Craftspeople used it to create European-style items like dressers and coffee cups. The mother-of-pearl made them feel rare and luxurious to European buyers.

Japanese artists called this type of lacquer "Nanban lacquerware." The word "Nanban" means "Southern Barbarians", a term taken from Chinese, and in 16th-century Japan, it referred mainly to Europeans.

Lacquerware in the Edo Period and Dutch Trade

In the Edo period, Japanese lacquerware continued to make its way to Europe. This time, it moved mainly through the Dutch East India Company and some private traders. The focus moved toward maki-e work with heavy use of gold powder. These gold-rich pieces had less raden than before, but their high detail and cost kept them exclusive. Until around the 1690s, the Dutch East India Company handled almost all of Japan’s lacquer exports to Europe. But because the prices were so high, only royalty and aristocrats could afford them. After 1690, the trade opened up more, allowing private merchants to enter the market.

Raden’s Revival in the 19th Century

When Japan reopened to foreign trade in the 1850s, raden came back into focus. It became a major part of lacquerware aimed at export markets. Two styles became especially popular: Somada and Shibayama.

Somada ware began in the 1670s. Somada Kiyosuke developed the look using regular patterns made from lacquer, tiny shell pieces, gold leaf, and silver leaf. Shibayama ware came later, in the 1770s. Shibayama Senzo created it by mixing inlays of many materials, mother-of-pearl, ivory, coral, ceramics, tortoiseshell, gold, and silver.

These styles became well-known abroad. They were exported in large amounts from Yokohama to both Europe and the United States.

Legacy of Edo Craftsmen and Modern Use

Several raden artists from the Edo period are still celebrated today. Names like Tōshichi Ikushima, Chōbei Aogai, and the Somada brothers remain respected. Their work continues to influence modern crafts.

Raden is still made across Japan today. It appears in both traditional art and modern design. From luxury décor to small everyday goods, raden has kept its place in Japanese craftsmanship.

 

Chinkin Carved Lacquer Art

Chinkin, also known as chinkinbori, is a precision carving method in Japanese lacquerware. It starts with a lacquered surface decorated using the aizunuri style. Craftspeople trace intricate lines and motifs directly into the lacquer. Then they fill the grooves with clear lacquer before laying on gold foil, fine gold dust, or sometimes colored dust. As the lacquer dries, the metal fuses into the carved channels, creating bright gold contrast against the dark background. This art came from China and landed in Japan during the Muromachi period. In the Edo period, the Wajima region refined it into its own style known as Wajima chinkin.

 

Kagawa Lacquerware’s Three Core Techniques

Kagawa lacquerware was pioneered by Tamakaji Zoukoku in what’s now Kagawa Prefecture. It’s known for three standout methods: Kinma, Zonsei, and Choshitsu. Each method uses chisels or swords to carve designs. Each is finished with layers of lacquer, color, or gold dust for dramatic effect.

Kinma Paste Technique

Kinma, sometimes spelled kinjiang, originated in southern China and spread through Thailand and Myanmar before arriving in Japan near the end of the Muromachi period. Craftspeople build up lacquer coatings on bamboo, wood, or dry lacquer vessels. They carve fine patterns with a special kinma sword. Then they fill the grooves with colored lacquer and polish the surface smooth. The name comes from the Thai words kin (chew) and mark (betel nut), nodding to the carved betel nut containers wrapped in kinma leaves.

Zonsei Inlaid Design

Zonsei, a method brought to Japan during the Muromachi era, is known by a slightly different character in Kagawa. Artisans first paint a design in colored lacquer atop layered base coats. Then they carve outlines and details using a sword. Afterwards, they fill the carved lines with gold leaf or gold dust, infusing the design with luminous metallic accents. Some Zonsei pieces use a second carving stage: colored lacquer is added and burnished flat before final sword-cut lines and gold filling. This approach, called Yarikin Hoso Kagi, is a signature method of Zoukoku’s Zonsei.

Choshitsu Carved Lacquer Layers

Choshitsu refers to deeply carved lacquer relief. Craftspeople create a thick bed of colored lacquer (dozens or even hundreds of layers, nearly 3 millimeters thick) and then carve relief patterns that reveal underlying colors. The result is a sculptural effect with layered color depth. Imported from China during the Muromachi age, this technique flourished in Ming China and was later perfected in Japan by Zoukoku, inspired by Chinese lacquer art. A layer of just red lacquer is called tsuishu; just black is tsuigoku. Today, many more tones are used thanks to modern pigments. The process involves carefully layering color, delicately carving, grinding for a smooth finish, and polishing to complete the piece.

 

Rankaku Eggshell Mosaic Lacquer Art

Rankaku is a unique lacquer technique that uses eggshell. It creates a mosaic-like finish on ceramics or lacquerware. First, artisans carefully glue tiny eggshell pieces onto the object using lacquer. Once the shell pieces are set, they fill the gaps with black lacquer. After it dries, they polish the surface until it’s smooth and gleaming.

This method shines especially on kokuso, which is lacquer clay used to repair or build object forms. It also finds its place in makie, the classic lacquer painting technique. Combining the delicate eggshell texture with lacquer’s depth gives rankaku its distinct and refined beauty.

 

Kamakura‑bori Craft and Technique

Kamakura‑bori is a Japanese lacquerware style that starts with carved wood. Artisans sculpt patterns into wood. They then apply multiple lacquer layers. Finally, they polish the piece to reveal its color and grain.

This method emerged in the Kamakura period, around 1185 to 1333. At that time, carved lacquer from China’s Song dynasty reached Japan. It came via Chin Na‑kei, also called Chin Wa‑kei. Japanese artisans admired the Chinese pieces. But they adapted the process. Rather than carving into thick lacquer, they carved the wood first and then coated it.

The technique was invented by busshi, Buddhist statue sculptors named Kōun or Kōen. They needed a faster way to create altar fittings that mimicked carved lacquer. With Kamakura‑bori, they could produce many pieces quickly. Around the same time, Zen Buddhism was spreading from China to Japan. Zen temples rose in Kamakura. Temple carpenters and sculptors further refined the carving and lacquering methods that became Kamakura‑bori.

Evolution and Popular Use

In the Muromachi period, from 1336 to 1573, Kamakura‑bori grew beyond altar fittings. Incense containers became common in temples. Later, as the tea ceremony gained popularity, artisans made incense cases and tea boxes from Kamakura‑bori too.

During the Edo era, between 1603 and 1868, the craft expanded even more. Craftspeople created daily items such as plates, trays, and cups for regular use. They designed new patterns influenced by Japanese life, moving away from purely Chinese‑style carving.

At the start of the Meiji era, the government separated Shinto from Buddhism. An anti‑Buddhist movement led many Buddhist sculptors to stop. But two artisans, Itsuki Goto and Kenzan Mitsuhashi, kept the tradition alive. They refined sculpture techniques and improved Kamakura‑bori quality. As time went on, Kamakura‑bori household items became popular with the public. Artisans took it up in interior design too. In 1979, Japan’s Ministry of Economy, Trade, and Industry declared Kamakura‑bori a Traditional Craft.

Materials, Styles, and Durability

Kamakura‑bori artisans mostly use katsura wood. They carve it by hand. Then they add several layers of lacquer. Drying time stretches production into weeks. A typical piece takes about a month to complete from carving to polish.

The finished item is very durable. With careful handling, it can last for generations. Traditional designs include lions, peonies, and swirling arabesques. But modern creators also explore new shapes and motifs to match today’s taste.

 

Hakkodo: A Legacy in Carving

Hakkodo is the oldest Kamakura‑bori workshop. It’s been run by the Goto family for 29 generations. They carved Buddhist statues and functional items from the Meiji period forward.

As demand for high‑quality work rose in the late 1800s, Hakkodo answered with fresh techniques and daring designs. In 1900, they opened a shop near the torii gate at Kamakura’s Hachimangu shrine gate. Today they continue carving both traditional and modern pieces.

 

Kamakura‑bori Production: Step by Step

Making Kamakura‑bori takes time, skill, and a team of specialists. Every step matters. Each piece goes through months of careful work before it's ready. Here's how the process unfolds.

Picking the Right Wood

It all starts with timber from the Japanese Judas tree, grown in Hokkaido. The wood must dry out for at least six months, sometimes up to a year. This seasoning keeps it from warping. After it’s ready, artisans use black ink to draw a rough outline. They cut that shape using a band saw. Kamakura‑bori is a team effort. Each stage has its own expert, from carving to lacquering to making the tools.

Turning the Wood

For anything round, like bowls or plates, they use a lathe. About 70 percent of Kamakura‑bori items are round. At first, the wood is roughly shaped and left to dry again. Then it's turned a second time to smooth out the form. Other techniques include gluing boards together or hollowing them out by hand.

Drawing the Design

Next comes the sketch. The design has to match the shape and purpose of the piece. Artisans draw it first, then transfer the pattern onto thin Japanese paper dyed with green bamboo. That sketch is traced straight onto the wood.

Starting the Carving

This first engraving stage is where the design comes to life. Using a knife, the artisan cuts along the traced lines. The angle of the cuts adds depth and creates the illusion of layers. This is where the artist’s skill really shows.

Creating Shadows and Shape

After the first carving, the edges around the lines are raised. This adds texture and makes the design stand out more. But it's tricky. One wrong move and the whole piece is ruined.

Leaving Chisel Marks

Once the rough carving is done, artisans go in with smaller knives and tools to define the pattern. Kamakura‑bori leaves the chisel marks on purpose. These cuts give the piece character and highlight the design.

The Undercoat

Now it’s time to apply the first layer of lacquer. This coat is raw urushi, a natural sap from the lacquer tree. It soaks into the wood and sets the base for the next layers.

First Lacquer Layer

A fresh coat of lacquer is brushed over the whole surface, covering every carved detail. After that, carbon dust and polishing powder are sprinkled across it. This helps make the textures pop.

Two More Coats

Next, two coats of black urushi lacquer go on. The artisan must be careful not to let it pool in the carved lines. After drying, they polish the surface with a whetstone and sandpaper to smooth things out.

Final Coat with Color

Then comes the final lacquer layer. This one mixes translucent urushi with scarlet pigment. It adds color and seals everything in.

Makomo Powder Finish

Before the top coat dries fully, they dust it with makomo powder, made from a native plant. Once dry, the surface is polished again. This gives it an aged, antique look.

Final Polish

Last step: another coat of raw lacquer is applied. Then, the surface is polished by hand using cloth. After that, it’s polished again with baked clay powder, called susudama. This last polish locks in the finish and brings out the depth in the design. The piece is finally complete.

 

Regional Styles of Japanese Lacquerware

Different regions in Japan put their own spin on lacquerware. Over centuries, workshops developed unique methods and looks tied to local traditions.

Aizu lacquer came into its own in the late 1500s and reached its height during the Meiji era. Craftsmen there carve designs into dried lacquer. Then they fill the carved spaces with gold or other materials. They also polish mixtures of clay and primer into the surface for a smooth, refined finish.

Jōhana lacquerware stands out for its use of maki‑e decoration and mitsuda‑e, which involves ornamenting with lead. These pieces often feature white or pale-colored lacquer as their base.

Kawatsura lacquer from Yuzawa in Akita Prefecture began around 1200. Originally, it protected swords, bows, and armor. Today it’s mostly used to make bowls, plates, and everyday tableware.

Negoro lacquer was crafted at the Negoro‑ji temple in Izumi Province. These pieces use red lacquer over black. As the red wears away with use, the black underneath appears. That worn effect became popular and is emulated in other styles.

Ryukyuan lacquerware is commonly grouped with Japanese lacquer, but it actually evolved separately. The Ryukyu Islands drew strong influences from China and Southeast Asia. They were not under Japanese rule until 1609.

Tsugaru lacquer developed near the end of the 1600s, attributed to Ikeda Gentarō. It uses many layers of colored lacquers. The result is a vibrant, mottled look that varies with each piece.

Wakasa lacquerware uses a mix of pigments in its base layers. Craftsmen often add crushed eggshells, rice husks, or other materials. They also embed gold or silver foil under a clear lacquer topcoat.

Wajima‑nuri comes from Wajima in Ishikawa Prefecture and dates back to the late 1400s. It’s best known for its hard-wearing base. This comes from coating zelkova wood with multiple layers of urushi mixed with diatomaceous earth powder called ji‑no‑ko.

 

National Treasure Lacquerware and Major Collections

Many ancient lacquered objects are officially listed as National Treasures in Japan. Most of these items date back to the Heian period and have strong Buddhist ties. In 2020, the Crafts Gallery of the National Museum of Modern Art, Tokyo, moved to Kanazawa in Ishikawa Prefecture. This change was part of Japan’s plan to boost local culture and tourism. Kanazawa, once a thriving center under the Maeda clan during the Edo period, is known for its rich tradition in craft industries.

The Tokugawa Art Museum in Nagoya also holds important lacquerware. One standout piece is an Edo period bridal trousseau decorated with maki-e that’s been declared a National Treasure. This shows how lacquer art intersects with historical bridal customs.

Today, collectors and museums worldwide seek Japanese lacquerware. The Nasser D. Khalili Collection of Japanese Art includes lacquer pieces by Shibata Zeshin and other masters. Khalili has organized exhibitions of Zeshin’s work in four countries. In the U.S., the Charles A. Greenfield Collection covers lacquer art from 1600 to 1900. In France, Marie Antoinette’s domestic lacquer pieces are split between the Louvre, the Guimet Museum, and the Palace of Versailles. London’s Victoria & Albert Museum holds about 2,500 pieces of mainly export lacquerware.

Living National Treasure Lacquer Masters

Japan recognizes many lacquer artisans as Living National Treasures. Among them are Kazumi Murose, Kōichi Nakano, Fumio Mae, Masami Isoi, Hitoshi Ōta, Yoshito Yamashita, Isao Ōnishi, Kunie Komori, Kiichirō Masumura, and Shōsai Kitamura.

Several past masters also received this honor. Shōzan Takano, Gonroku Matsuda, Naoji Terai, Yoshikuni Taguchi, Shōgyo Ōba, Otomaru Kōdō, Taihō Mae, Joshin Isoi, Yūsai Akaji, Mashiki Masumura, and Keishirō Shioda all shaped lacquer craft in their time.

Okada Akito, active from 1910 to 1968, frequently displayed his work at the Nitten exhibition after 1947. He was also a lacquer restoration expert for the Imperial Household collections.

Profile: Maehata Gaho’s Legacy

Maehata Gaho is a master of lacquer utensils for the Japanese tea ceremony. He draws influence from the Rimpa school in his designs. Gaho was born into the Maehata family as the first son of Maehata Shunsai, the family’s eighth head. He trained under leading masters: Murata Doukan for tea utensils, Nakamura Chokan for ishiji-nuri techniques, and Hoya Bisei for Kaga-style maki-e.

In 1983, he founded Mugen-an, now a designated cultural site in Ishikawa Prefecture. Mugen-an is built in a modern Shoin-zukuri style that is similar to samurai-era homes. In 2003, Gaho was chosen to restore Kenchouji Temple, a recognized Important Cultural Property.

Gaho believes every creation should be treated like a precious jewel. He sees each piece as a statement and hopes his work will be treasured by future generations.