The Murakami region of Niigata Prefecture has been widely known as a production area for natural lacquer since the Heian period.
MURAKAMI Kibori Tsuishu (Wood Carvings and Lacquerware) originated in the early 15th century when a lacquerware craftsman from Kyoto imitated Chinese lacquerware, applying lacquer over wood carvings. This technique was then introduced to the Murakami region when temples were built. The first temple builders learned the technique, and during the Edo period, it spread among the samurai class, and eventually among the townspeople, continuing to this day.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. In the case of wood carvings using carved lacquerware, the following techniques or methods shall be employed:
  (1) The carving shall be done by "downward carving" or "relief carving".
  (2) For the undercoat, intermediate coat and top coat of the carved parts, the "tataki-nuri" method shall be used with the fingertips or a tampon, followed by the "nurushi-tate" (finishing coat). In this case, the top coat shall be made by mixing vermilion lacquer with genuine vermilion.
  (3) The finishing touch is to apply a matte finish followed by a "rubbed lacquer" finish.

   

  2. In the case of wood carving with lacquered lacquer, the following techniques or methods shall be used:
  (1) The carving shall be done by "downward carving" or "relief carving".
  (2) For the undercoat, intermediate coat, and top coat of the carved parts, the "tataki-nuri" technique should be used with the fingertips or a tampon, followed by a "nuroshiki" (finishing coat). In this case, refined black lacquer should be used for the top coat.
  (3) The finishing touch is to apply a matte finish followed by a "rubbed lacquer" finish.

   

  3. In the case of wood carvings with vermilion lacquer finish, the following techniques or methods shall be used:
  (1) The carving shall be done by "downward carving" or "relief carving".
  (2) For the undercoat, intermediate coat and top coat of the carved part, the "tataki-nuri" technique should be used with the fingertips or a tampon, followed by a "nuri-tome" (finishing coat). In this case, the top coat should be made of a mixture of vermilion lacquer and pure vermilion, and a matte finish should be applied before the "tataki-nuri" of the vermilion lacquer.
  (3) The finish is to apply a matte coating followed by a "roiro" coating.

   

  4. In the case of wood carvings with colored lacquer coating, the following techniques or methods shall be used:
  (1) The carving shall be done by "downward carving" or "relief carving".
  (2) For the undercoat, intermediate coat and top coat of the carved parts, the coating shall be applied by "dabbing" with the fingertips or a tampon, followed by "finishing the coating." In this case, the top coat shall be applied using various types of refined colored lacquer.
  (3) The finishing touch is to apply a matte finish followed by a "rubbed lacquer" finish.

   

  5. In the case of wood carving and metal polishing, the following techniques or methods shall be used:
  (1) The carving shall be done by "downward carving" or "relief carving".
  (2) For the undercoat, intermediate coat and top coat of the carved parts, the coating shall be applied by "dabbing" with the fingertips or a tampon, followed by "finishing the coating." In this case, the top coat shall be applied using various types of refined colored lacquer.
  (3) The areas that have been painted in different colors should be covered with gold leaf.
  (4) After applying gold leaf to the gold leaf areas, apply refined colored lacquer of the same color as the top coat, and then polish it using charcoal.
  (5) The finish should be matte, followed by a "roiro" coating.

   

  6. In the case of sancai carving, the following techniques or methods shall be used:
  (1) For the top coat, after applying an intermediate coat and sanding the intermediate coat, refined colored lacquer in red, yellow, and blue is applied in layers, and then refined black lacquer is applied.
  (2) The finish shall be done by "roiro lacquering".
  (3) The carving shall be done by "skin carving".

   

  raw materials

  １ 漆は、天然漆とすること。

  2. The wood used shall be magnolia, horse chestnut, or katsura, or a material of equivalent quality.

• Work scene

  Work scene

  Step 1: Wood preparation

  Using thoroughly dried horse chestnut and magnolia wood, skilled woodworkers create the base wood that will become the carved lacquerware.

  

  Step 2: Sketch

  Once in the hands of a woodcarver, preliminary sketches of flowers and birds, landscapes, peonies, and other motifs are drawn directly onto the wood.

  画像をクリックすると動画が再生されます

  工程3： 彫刻

  Using a carving tool called urajiro, the artist skillfully manipulates the underdrawing to create vibrant carvings.

  

  Step 4: Cutting the horsetail

  In the first step of the lacquerer's process, the roughness of the carved knife marks is polished away with sandpaper (in the past, a type of grass called "tokusa" was used).

  

  Step 5: Wood hardening

  Raw lacquer is applied thoroughly to the entire surface of the wood using a brush, creating a robust foundation for the carved lacquer finish.

  

  Step 6: Rusting

  This is an important base preparation process for making high-quality lacquerware, and it is repeated two or three times on the plain, uncarved areas.

  

  Step 7: Rust removal

  The painted surface is wet-sanded flat using a hard whetstone. This process is repeated two or three times as rust sets in.

  

  Step 8: Intermediate coating

  To avoid covering the carved patterns with lacquer, the lacquer is dabbed on with a tampo (a thin rubber ball filled with cotton) or fingertips, and then applied with a brush.

  画像をクリックすると動画が再生されます

  Step 9: Intermediate coating and sanding

  We meticulously wet-grind both the flat surfaces and the carved parts using a fine-grained grinding stone called Murakami grinding stone.

  

  Step 10: Top coat

  Using vibrant vermilion lacquer, the carved areas are carefully painted over, just like the undercoat, ensuring that the lacquer is not covered.

  

  Step 11: Matte finish

  The surface gloss is removed by wet sanding with charcoal or polishing powder, resulting in a more subdued finish.

  

  Step 12: Hair engraving

  The tattoo returns to the sculptor's hands, and he uses a fine-tipped triangular chisel to carve intricate lines onto the matte-finished skin.

  

  Step 13: Top coating

  High-quality raw lacquer is applied to the entire surface of the object using a brush, and the finish is tightened to complete the piece.

  

   

• Close-up

  Close-up

  MURAKAMI Kibori Tsuishu (Wood Carvings and Lacquerware) that develops color the more it is used.

  Wood carvings and lacquerware are often associated with luxury. While many people store them away in closets, saying "it's too precious to use," we spoke with Mr. Iyobe, a self-proclaimed enthusiast and former secretary-general of the Murakami Lacquerware Business Cooperative, and carver Mr. Kawamura, who continue to argue that "they are meant to be used and enjoyed."

   

  High-end products, and only then can they achieve the pinnacle of artistry.

  A vessel that is bright red from every angle, adorned with bold and deep carvings all over. MURAKAMI Kibori Tsuishu (Wood Carvings and Lacquerware) of lacquerware that you will never forget once you see it. This magnificent wood-carved lacquerware originated in Murakami about 600 years ago. Murakami is an old castle town. Under the patronage of successive feudal lords and the shogunate, who sought to develop carving and lacquering techniques, this lacquerware was made with great care and effort, and was used for luxurious decorations and entertaining, earning a reputation as a high-class product. Bento boxes used on special occasions, trays used in inns and restaurants, shelves used to decorate tatami rooms... The more refined and sophisticated it became, the higher its value and the greater the demand. Because it originally flourished as a luxury item, you can see the pinnacle of the craftsmanship of the artisans who made the lacquerware everywhere.

  

  A bold piece that conveys the spirit of the tattoo artist.

  Tiny geometric patterns contrast with the bold design.

  The allure of luxury lies in its unique charm, and Mr. Iyobe is one of those captivated by this. "Good quality items always have a fine pattern called a 'jimon' (ground pattern)," he said, showing me a piece of pottery. Upon closer inspection, I could see that between the bold patterns of flowers, birds, and plants, there were continuous, intricate geometric carvings. There are nearly 20 different "jimon" patterns, including chrysanthemums, waves, and hemp leaves. The carver, Mr. Kawamura, carved them right in front of me with the precision and accuracy of a small pattern, without the slightest deviation. "It's not as difficult as you might think," he said, but added that it takes eight years to be able to carve such intricate patterns accurately and quickly.

  The color of carved lacquer changes with the passage of time.

  Now, beyond the background patterns, what's truly fascinating about carved lacquerware is the ever-changing red color. When I was shown a new tea tray and one from six years ago, the colors were clearly different. The new one was a little darker, while the red of the older one was much more vibrant. Mr. Kawamura explained, "Lacquer has the property of turning a little black when it dries. It's red when it's being applied, but it becomes a duller color when it dries. After many years, lacquer becomes transparent, though not quite glass-like. Because the lacquer becomes transparent, the red color mixed in becomes more vivid." In fact, the color of the top coat was a vibrant red, even redder than crimson. And that color changes with time. There is an indescribable charm to that.

  

  The one on the left is brand new, and the one on the right is 6 years old. The one on the right is brighter.

  Even if it's expensive and feels like a waste, carved lacquerware only truly shines when it's used.

  Mr. Iyobe places great importance on "use." "It won't get any better unless people use it. Everyone puts it away in the closet because it's expensive and they don't want to waste it. But the color won't change that way. As you wipe away the oil from your hands and dirt, it gradually develops a shine." Moreover, maintenance is easier than you might imagine. "If it gets wet, just wipe it with a cloth immediately. People ask me what to do if dirt gets between the carvings, and I tell them to remove it with a scrubbing brush. You can't scratch it even if you scrub it with a brush. It won't work on brand new pieces, but it's perfectly fine if it's over a year old."

  

  The top coat is a vivid red when freshly applied, but it changes color when it dries.

  "You are fortunate to have the luckiest teacher in Japan."

  High-end crafts like wood carvings and lacquerware are being tossed about by the recession and the wave of cost-cutting. While they face challenges due to their status as luxury goods, there are also signs of hope. "I cherish the children," said Ms. Iyobe, showing me a file of letters from children. Currently, fifth-grade elementary school students are learning about traditional crafts in their social studies class. She shared an anecdote about when the children came to visit. "There's a very enthusiastic teacher in Niigata who has researched lacquerware thoroughly, and he even came all the way here at night to pick up some items. The children were happiest about being able to touch these items. They all wrote thank-you essays and sent them to me, so I wrote one back to them, telling them that they have the luckiest teacher in Japan."

  A luxurious and unique wood carving technique passed down for 600 years. As times change, why not personalize this timeless tradition and make it your own? Wood carvings truly shine through use. We hope you'll enjoy looking at it every day and feel a sense of richness.

  Craftsman Profile

  Iyobe Ichiro

  The former secretary-general of the Murakami Tsuishu Business Cooperative, a true lover of Tsuishu lacquerware. He is dedicated to promoting the idea that Tsuishu lacquerware only truly shines when it is used.

  

  Kawamura Hatsuo

  At the age of 18, he apprenticed with a tattoo artist, and after working as a taxi driver after the war, he returned to tattooing. He currently gives demonstrations throughout Japan.

  

  Anecdotes

  The pinnacle of Murakami craftsmanship: vermilion lacquer and three-color carving.

  Murakami's wood carvings and lacquerware are not limited to just red vessels. In addition to carved lacquer, there are five other techniques designated as traditional crafts, each with unique characteristics not found in other regions. Among them, we would especially like to introduce Shudame-nuri (vermilion lacquer) and Sansai-bori (three-color carving). Murakami's wood carvings and lacquerware are a collaboration between carvers and lacquerers. Shudame-nuri, with its particular emphasis on lacquering, and Sansai-bori, the pinnacle of carving. Please be sure to see them when you visit Murakami.

  ■ Vermilion lacquer finish
  It has a truly captivating transparency, and a subtle color that is neither black nor red, nor even brown. The calm atmosphere created by this color and deep transparency is so breathtaking.
  This technique, called vermilion lacquerware, involves following the same process as wood carving and then applying a matte finish followed by a coat of tame-urushi, a type of lacquer that does not contain any added color. Over time, the lacquer applied on top becomes transparent, gradually revealing the red underneath and creating this calm, subdued hue. It is a lacquered object with a truly mysterious charm that seems to bring a sense of calm to the very core of one's being.

  ■ Three-color carving
  This lacquerware truly embodies the pinnacle of craftsmanship from Murakami, the land of carving and lacquering. It's made by layering colored lacquer—red, yellow, green, and finally black—onto a wooden base. The final step involves carving over the black base, using the colors to create the pattern. The carving requires incredibly precise precision, shallow for leaves and slightly deeper for flowers. The combined thickness of the four colors is only about 2 millimeters. One wrong step and the color changes; this is the art of a craftsman who can manipulate it with such precision. This method of creating color is something you wouldn't notice just by looking at the product. You could paint it, but instead, they choose to carve. You can't help but feel the spirit of Murakami craftsmanship in this.

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    Vermilion lacquer finish

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    Vermilion lacquer finish

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    Three-color carving