In the early Edo period, lacquerware techniques were introduced from other production areas, and in 1638, a designated area for the exclusive sale of lacquered goods, known as "wan-ten," was established in what is now Furumachi, and protective policies were implemented.
Documents from 1819 (Bunsei 2) show the names of lacquerware artisans. Niigata was a port of call for Kitamae ships and a center for the collection and distribution of goods and culture, so a variety of techniques from various regions developed in lacquerware making.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. For the base coat, apply raw lacquer to the wood, then apply wood chips and rust to the entire surface.

   

  2. Painting Techniques
  (1) When painting flowers, the following techniques or methods shall be used:
  (i) After applying the undercoat, sand it down and then apply the topcoat.
  (2) In the case of stone-patterned finishes (black copper finish, bronze finish, brown copper finish, shibuichi finish), the following techniques or methods shall be used.
  (i) After applying the lacquer, fine charcoal powder is sprinkled evenly in the case of stone-patterned lacquer, and in a mottled pattern in the case of black copper lacquer, bronze lacquer, brown copper lacquer, and shibuichi lacquer, and then the powder is set in place.
  (b) After sanding, apply colored lacquer, sand again, and then repeat the "rubbing lacquer" process.
  (3) In the case of Nishiki lacquerware, the following techniques or methods shall be used:
  I. "Kataoki" is the process of using bundles of hemp string to dab and apply black lacquer in an irregular pattern.
  (b) After applying yellow and vermilion colored lacquer, apply green lacquer, rub tin powder onto the surface while it is still in a bluish-green state, and then apply wood-grain lacquer.
  After polishing, apply wood lacquer and then polish out the brocade pattern.
  2. The finishing process involves repeating the steps of "rubbing with lacquer" and "rubbing with copper," followed by "rubbing with lacquer" and "polishing."
  (4) In the case of seaweed lacquerware, the following techniques or methods shall be used:
  I. "Kata-oki" is the process of applying a pattern of seaweed using black shibori lacquer after the undercoat and polishing have been completed, by rotating a tampon (a type of sponge).
  After applying the lacquer in each color, the seaweed pattern is polished out.
  The finishing process involves repeating the steps of "rubbing lacquer" and "rubbing copper" followed by "rubbing lacquer" and "polishing."
  (5) In the case of bamboo painting, the following techniques or methods shall be used:
  "Takebushi-tsuki" refers to the process of shaping the bamboo joint patterns (main joints, grooves, branch joints, root joints) using rust.
  (b) After sanding off the rust, apply a colored lacquer for the undercoat (soot bamboo, green bamboo, sesame bamboo).
  H. For the top coat, after sanding, apply a colored lacquer for the top coat, and in the case of sesame bamboo, sprinkle charcoal powder on top of this.
  2. "Patterning" involves applying patterns such as split-face finish, end grain finish, base grain finish, burr finish, and sesame seed finish after sharpening, followed by "Makomo sprinkling" and "Makomo removing."
  The finishing process involves repeatedly applying "rubbed lacquer."

   

  raw materials

  1. The wood shall be magnolia, katsura, horse chestnut, zelkova, or timber of equivalent quality.

  ２ 漆は、天然漆とすること。

• Work scene

  Work scene

  NIIGATA Shikki (Lacquerware) employs a wide variety of painting techniques.
  Here, we will introduce the process of "Take-nuri," one of the representative lacquering techniques of NIIGATA Shikki (Lacquerware).

  The base material is made from woods such as magnolia, katsura, zelkova, and horse chestnut.

  Process 1: Wood hardening

  Raw lacquer is applied to the base material and allowed to penetrate thoroughly. The penetration of the raw lacquer provides waterproofing to the wood.
  If there are joints in the base material, the area may be reinforced by attaching a cloth such as hemp with "nori-urushi," a mixture of rice paste and raw lacquer.

  Using a spatula, a filler called "kokuso" is used to fill in any gaps or small scratches in the base material, and then the surface is smoothed.
  Kokuso is made by mixing raw lacquer with paste-like cooked rice, wheat flour, and wood shavings.

  

  Step 2: Rusting

  Diatomaceous earth is fired and hardened to create "ji no ko" (ground powder) or tonoko (polishing powder), which are then mixed with water and raw lacquer to create a clay-like base called "sabi" (rust).

  (1) Primer application: Use a spatula or similar tool to evenly rub the rust onto the entire surface of the substrate.
  (2) Sharpening: Once the rust has dried and hardened, sharpen the surface with a whetstone moistened with water to make it smooth.

  (1) Applying a base coat and (2) sanding are repeated several times to strengthen the base material and stabilize its shape.

  

  Process 3: Bamboo knotting

   

  

   

  

  (1) Using a special spatula, apply rust to the surface of the base material to create raised knots.
  (2) Use a chisel to carve out the grooves that will form the nodes of the bamboo, and shape them to look like nodes.
  (3) The texture of the finer parts of the bamboo, such as the branch nodes and root nodes, is also created by applying rust.

  

  Process 4: Rust polishing

  Once the rust has dried and hardened, smooth the surface by grinding it with a water-soaked whetstone.

  Step 5: Intermediate Coat

   

  

  The colored lacquers used for the undercoat come in three colors: sooty bamboo green, green bamboo green, and sesame bamboo green. These are used as needed.
  The entire surface is coated with colored lacquer using a brush, and then it is placed in a special room called a drying room to dry.
  Since lacquer requires a suitable humidity and temperature to harden, the room temperature is maintained at around 20 degrees Celsius and the humidity at around 70%.

  

  Step 6: Sanding the intermediate coat

  Once the undercoat has dried and hardened, the surface is polished smooth with a whetstone moistened with water.

  

  Step 7: Top Coat

   

  

  There are also three colors of colored lacquer for the top coat: sooty bamboo green, green bamboo green, and sesame bamboo green. The green bamboo green and sesame bamboo green colors are the same as the colored lacquer for the undercoat, but the sooty bamboo green has a slightly different composition than the undercoat colored lacquer.
  Apply the top coat of colored lacquer to the entire surface with a brush, then place it in a drying bath to dry.
  For the sesame bamboo color, before the top coat of lacquer dries, sprinkle charcoal powder using a sieve, then place it in a drying bath to dry.

  

  Step 8: Sharpening

  Once the top coat has dried and hardened, the surface is polished smooth with a water-soaked whetstone.

  Step 9: Patterning

  
  We will apply a textured pattern to represent the surface of bamboo.
  The streaks in the surface texture can be created either by drawing them with a scribing tool after sanding, or by using a brush during the topcoat application without using a scribing tool.
  Furthermore, we will express the texture of other parts as needed.
  The appearance of the cross-section when bamboo is split and the fine grain patterns on the cut surface are expressed by applying sticky lacquer with a spatula or brush, while the burrs and spots near the nodes are painted with a maki-e brush.

  

  Step 10: Sowing of wild rice

  Apply clear lacquer to the knots, blending it outwards. While it's still slightly damp, sprinkle dried and powdered wild rice (Zizania latifolia), a type of grass, onto it with a brush.
  The areas where the Makomo powder has been sprinkled will turn reddish-brown.
  To achieve a sooty bamboo color, sprinkle the entire surface with Makomo powder.
  After sprinkling the rice seed powder, place it in a drying bath to dry.

  

  Step 11: Removing the reeds

  Apply powdered charcoal for sharpening and water to a brush and sharpen the surface on which the makomo powder has been sprinkled.
  By sharpening, excess makomo powder is removed, bringing out the natural texture of the bamboo joints.

  

  Step 12: Applying lacquer

  The raw lacquer is rubbed all over, and then it is placed in a drying bath to dry.
  The lacquer is applied several times to create a glossy finish.

  

  工程13： 完成

   

  

   
• Close-up

  Close-up

  Rich expressiveness born from diverse techniques: NIIGATA Shikki (Lacquerware)

  The texture is so realistic it could be mistaken for real bamboo or stone, the seaweed sways in the dark water, the intricate insect-eaten patterns are mesmerizing, and the soft light falls upon the moist, smooth surface.
  Lacquerware can display a wide variety of expressions depending on how it is applied. In Niigata, a diverse range of unique lacquerware has been produced since the Edo period, utilizing a variety of techniques.
  We spoke with Atsushi Imura, a promising young craftsman who, drawn to the fascinating world of lacquerware making, is now in his fifth year as a craftsman.

   

  Painting techniques that even express texture.

  Mr. Imura's specialty is "bamboo lacquering," one of the representative techniques of "NIIGATA Shikki (Lacquerware)." When you pick up the bamboo-lacquered chopsticks he often makes, you are amazed by the exquisite reproduction of the texture. The nodes and grain are just like real bamboo, but the shape is a slender, elongated square pyramid, characteristic of square chopsticks. A shape that should be impossible in bamboo exists with the texture of bamboo. You can't help but stare at its不思議さ (mystery/wonder).
  The unique texture of bamboo, including its veins and knots, is expressed through lacquering techniques. The raw material is wood such as horse chestnut or magnolia. A base coat of paste is applied to create the knots and veins. Various shades of bamboo, such as the amber-colored "soot bamboo," the refreshing green of "green bamboo," and the spotted "sesame bamboo," are expressed by carefully layering specially colored lacquer. The sight of the wood transforming into bamboo is like magic, and it is an exhilarating experience just to watch.
  The texture of the bamboo is so realistically reproduced that many people don't realize it's made of lacquer. Others wonder why actual bamboo isn't used. "Bamboo lacquering" is not merely a technique of reproduction; it's a technique that creates the ideal form of bamboo that cannot be achieved with real bamboo.

  

  A treasure trove of unusual paintwork

  NIIGATA Shikki (Lacquerware) boasts a wide variety of finishes, including "Take-nuri" (bamboo finish). Other examples include "Ishime-nuri" (stone-like texture), "Isokusa-nuri" (seaweed-like texture reminiscent of swaying seaweed), "Nishiki-nuri" (brocade finish) with its intricate, irregular patterns shimmering in gold, and "Hana-nuri" (flower finish) with its smooth surface and subdued luster. Niigata NIIGATA Shikki (Lacquerware) employs well over a hundred different techniques. These expressive finishes are collectively known as "Hen-nuri" (various finishes). With its diverse techniques and the resulting range of products, NIIGATA Shikki (Lacquerware) is considered a "treasure trove of Hen-nuri."
  It is said that NIIGATA Shikki (Lacquerware) incorporates techniques from lacquerware from various regions of Japan. During the Edo period, Niigata was a maritime hub where ships carrying goods from all over the country gathered. Along with goods and culture, lacquerware from all over Japan was brought to Niigata. Based on these, Niigata craftsmen created their own unique techniques and expressions, producing a rich variety of distinctive lacquerware.
  Even today, artisans in Niigata continue to create works of art, preserving techniques supported by a long history and tradition, while also constantly refining their methods, just like their predecessors.

   

  • 

    
    Isokusa-nuri

  • 

    
    Hana-nuri

  • 

    
    Ishime-nuri

  • 

    
    bamboo lacquer

  • 

    
    Nishiki lacquer

  The possibilities of lacquerware expand through combinations.

  In NIIGATA Shikki (Lacquerware), it's common to see works that combine different types of lacquer. Mr. Imura calls this type of lacquer "combined lacquer." The choice of which lacquers to combine depends on the craftsman's sensibility and skill. That's where the fun, enjoyment, and challenge for the creator lies.
  "Thinking about the combinations of paints is the most fun part," Imura says, his eyes sparkling. When he considers combinations of paints, the central element is "bamboo paint." By combining "bamboo paint" with other paints, a variety of expressions are created. That's what he finds interesting. It was this fascination with "combined paints" that led him down the path to becoming a lacquerware craftsman. At first, he only intended to help out, but before he knew it, it had become his main profession. "I got hooked on the fun of it," Imura says with a refreshing smile.

  

  Bamboo lacquer and rosewood combined lacquer finish

  Utilizing traditional techniques in modern designs

  Imura says that, like many other young people, he wasn't particularly interested in lacquerware until he became a craftsman himself. That's why he focuses on creating "lacquerware that young people would want to use every day" from a young person's perspective. When he first started working with lacquerware, he made some pieces with modern color schemes. However, customers responded better to the traditional techniques used by his father, who has been a craftsman for over 40 years, than to his own modern pieces. "I was trying too hard to make them look like lacquerware, and they lost their lacquer quality," he says, reflecting on his earlier works.
  He used to unconsciously think of his father as focusing on tradition and his own work as catering to younger people. However, after five years as a craftsman, working alongside his father, Katsu, his perspective has recently begun to change. The works created by Katsu are imbued with the unique charm of lacquerware. The source of that charm lies in traditional techniques and the craftsman's skill. Skill is not something that can be acquired overnight. He says he has come to admire his father's work anew.
  "To use traditional techniques to create modern products that highlight the appeal of lacquer"—that is Imura's current goal.

  • 

    Demonstration at the event venue

  • 

    A scene from a practical session of the "Lacquerware Workshop." The instructor is Minoru Koiso, Professor Emeritus of Niigata University.

  Craftsman Profile

  ​Atsushi Imura

  Born in Niigata in 1974 (Showa 49).
  After gaining experience working for a company, she began helping her father, lacquerware craftsman Masaru Imura, with his work. Later, she decided to pursue a career as a craftsman herself. Since working together, she and Masaru have become close friends as fellow artisans. Alongside creating her own works, she is also active in promoting "NIIGATA Shikki (Lacquerware)" through demonstrations at events and exhibitions. She participates as a practical assistant in the "Lacquerware Course" offered to citizens by the Niigata City Lacquerware Association. With her cheerful personality, she conveys the joy of making lacquerware.

  Anecdotes

  Nuridon has arrived.

  NIIGATA Shikki (Lacquerware) has a character created to spread its appeal far and wide. His name is "Nuridon." As the public relations representative for NIIGATA Shikki (Lacquerware), Nuridon travels all over Japan, from east to west and north to south, sometimes even giving demonstrations. In his hometown of Niigata, he is already popular among elementary school students. In fact, Nuridon is modeled after Ms. Imura, who appeared in the interview.

  ■Name: Nuridon
  ■Date of birth: Unknown
  ■Occupation: NIIGATA Shikki (Lacquerware) craftsman and public relations officer
  ■Address: Niigata Prefecture
  ■Personality: Gentle, diligent, stubborn (once he's made up his mind, he won't budge), seemingly aloof but kind, loyal, and surprisingly fond of new things.
  ■Life's work: To make the characteristics of NIIGATA Shikki (Lacquerware) easy for everyone to understand, and to explore new possibilities for NIIGATA Shikki (Lacquerware) while integrating it into everyday life.

  •