During the Kamakura period, when the Zen Buddhist sect was introduced from China, many works of art and crafts were imported along with it.
Influenced by carved lacquerware such as tsuishu and tsuikoku, Buddhist sculptors and temple carpenters began carving wooden vessels and applying layers of lacquer. In the early days, large incense boxes used in Zen Buddhist temples were mainly produced. Towards the end of the Muromachi period, with the rise of the tea ceremony, Kamakura-bori became popular as tea ceremony utensils. It wasn't until the Meiji era that KAMAKURA Bori (Wood Carvings and Lacquerware) began to be seen used for everyday items.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. The woodworking process shall be carried out in one of the following ways:
  (1) In the case of turned metalwork, the shape shall be formed using a lathe and a lathe plane.
  (2) In the case of joinery, "fastening" and "edge finishing" shall be performed.
  (3) For boards, rough cutting and finishing cutting shall be performed.
  (4) In the case of carved objects, "rough carving" and "finishing carving" shall be performed.

   

  2. The sculpture shall be made in one of the following ways:
  (1) In the case of low-relief carving, after "tachikomi" (a type of carving technique), "kizadori" (a type of carving technique), "jisuki" (a type of carving technique), "konashi" (a type of carving technique), or "knife marks" should be applied.
  (2) In the case of carving with knife marks, the following methods shall be used: "overlapping knife marks," "flowing knife marks," or "stone-like knife marks."

   

  3. The base preparation shall be carried out using the following techniques or methods:
  (1) The wood surface is hardened by applying raw lacquer or a mixture of raw lacquer and rice paste.
  (2) The base coat shall be prepared by one of the following methods:
  (i) In the case of a sprinkled base, after applying raw lacquer, sprinkle charcoal powder or polishing powder on top.
  For a rust-colored base coat, apply a mixture of raw lacquer and polishing powder repeatedly.
  (h) For the base coat, apply raw lacquer repeatedly.

   

  4. For the intermediate coat, apply black intermediate lacquer and then sand it down.

   

  5. The top coat shall be applied in one of the following ways:
  (1) In the case of colored lacquer painting, vermilion lacquer, red iron oxide lacquer, oryzae lacquer, green lacquer, or black lacquer shall be applied.
  (2) In the case of dry lacquering, after applying vermilion lacquer, red iron oxide lacquer, oriole lacquer, green lacquer or black lacquer, the dry finish and dry finish polishing shall be performed using makomo or soot balls.
  (3) In the case of maki-nuri, a mixture of transparent lacquer and pigment shall be applied, followed by sprinkling of pigment or dry lacquer powder. In this case, the pigment shall be vermilion, red iron oxide, or orpiment.
  (4) In the case of lacquering, red lacquer is applied repeatedly and then polished.
  (5) In the case of tsuikara lacquerware, a mixture of red iron oxide pigment and roiro lacquer is repeatedly applied, and then polished.
  (6) In the case of gold leaf application, vermilion lacquer is applied, gold leaf is applied, then transparent lacquer is applied and polished.
  (7) In the case of roiro lacquering, the process of applying roiro lacquer and then sanding it is repeated.
  (8) In the case of brushwork, apply shibori lacquer.

   

  raw materials

  １ 漆は、天然漆とすること。

  2. The wood used shall be Katsura, Magnolia, Ginkgo, Hinoki, Sawara, Horse Chestnut, Zelkova, or timber of equivalent quality.

• Work scene

  Work scene

  The exquisite carving technique that expresses softness, precision, sharpness, and strength—that is the true essence of KAMAKURA Bori (Wood Carvings and Lacquerware). But that's not all. KAMAKURA Bori (Wood Carvings and Lacquerware) is lovingly crafted as it passes through the hands of various specialists, from those who turn the wood, to those who apply the lacquer, to those who make the tools for applying the lacquer.

  Process 1: Tree removal

  The materials used are mainly Katsura wood from Hokkaido, which is naturally dried for six months to a year before processing. The wood is marked with ink according to the product's intended use and external dimensions, and then cut with a band saw.

  

  Step 2: Turning on a potter's wheel

  Round items such as trays, plates, and tea coasters are called "hikimono-kiji" (turned wood bases) and are the main products, accounting for 70% of KAMAKURA Bori (Wood Carvings and Lacquerware)). After being roughly turned on a lathe and dried, they are turned again to finish the shape and create beautiful curves (besides turned wood bases, there are also "sashimono-kiji" (finger-shaped wood bases) which are made by joining boards together, and "kurimono-kiji" (carved wood bases) which are made by carving from a single board).

  

  Process 3: Painting

  A pattern design is created to match the shape, size, and intended use of the product, and the design is transferred onto thin Japanese paper using a dye called "aotake" (green bamboo). The wooden base is lightly moistened, and the Japanese paper is pressed onto it to transfer the design.

  

  Step 4: Draining

  The carver uses a small knife to make incisions along the lines of the traced image. The angle of these incisions is used to express the perspective and volume of the design. For a carver, this is arguably the first crucial step in determining the outline of the pattern.

  

  Step 5: Edge trimming

  The edges of the lines are then trimmed away with a small knife or a flat knife. This makes the patterned areas stand out. This scene, where several different knives are used depending on the desired expression, can be considered the second highlight of the process.

  

  Process 6: Sword marks

  The patterned areas are filled in using various types of knives (small knives, flat knives, round knives, triangular knives, box knives, curved knives, etc.), while the surrounding background areas are left with knife marks that harmonize with the carved patterns. Leaving these knife marks intentionally is a characteristic of KAMAKURA Bori (Wood Carvings and Lacquerware), giving the works a deep and rich character.

  

  Step 7: Wood hardening

  Raw lacquer (kiurushi, which is the sap extracted directly from the lacquer tree) is applied to the entire surface and allowed to soak in, creating the base for the coating.

  

  Process 8: Groundwork for sowing

  Raw lacquer is applied to the carved surface in an even thickness, then charcoal powder or polishing powder is sprinkled on top, and after drying, it is polished. This process fully utilizes the unevenness of the carved surface, resulting in a durable and smooth finish.

  

  Process 9: Intermediate coating

  Two coats of black lacquer are applied as an undercoat. During this process, meticulous care must be taken to prevent lacquer from accumulating in the valleys of the carvings. Afterwards, the piece is polished using whetstones, sandpaper, and charcoal.

  

  Step 10: Top Coat

  A highly transparent lacquer is mixed with vermilion pigment, and then the top coat of lacquer is applied.

  

  Step 11: Remove the dry parts and sow the makomo rice.

  After the top coat has settled, sprinkle makomo powder onto the surface while it is still slightly damp. After it dries, polish it thoroughly, which gives the whole piece an antique look, emphasizes the carvings, and creates a subdued color tone. This is a representative painting technique of modern KAMAKURA Bori (Wood Carvings and Lacquerware).

  

  Step 12: Applying lacquer, finishing.

  After sanding down the attached KAMAKURA Bori (Wood Carvings and Lacquerware) bori (Kamakura carving).