TAKAOKA Shikki (Lacquerware) originated in the early Edo period when Maeda Toshinaga, the lord of the Kaga Domain, built Takaoka Castle in what is now Takaoka City, Toyama Prefecture, and commissioned the production of weapons, chests of drawers, trays, and other everyday items.
Later, techniques such as carved lacquer (tsuishu) and carved black lacquer (tsuikoku) were introduced from China, and a variety of techniques were developed, including TAKAOKA Shikki (Lacquerware) has taken firm root and flourished within the townspeople's culture can be seen from the fact that these lacquerware techniques were gathered in the magnificent and gorgeous floats (mikuruma-yama) used in Takaoka's festivals.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. In carved painting, the following techniques or methods shall be used:
  (1) Sculpting shall be done by "adding flesh," "removing gaps," and "removing the base material."
  (2) For the carved parts, the base coat is made by repeatedly applying a mixture of raw lacquer and pine soot, etc., to create a "rubbed finish," and for the other parts, the base coat is made by repeatedly applying a mixture of raw lacquer and polishing powder.
  (3) The top coat shall be applied after the intermediate coat and sanding of the intermediate coat, and then red or three or more refined polychrome lacquers shall be applied.
  (4) For the finishing touches, after applying an "aged finish" and then removing the aged finish, polish it with oilstone powder or similar.

   

  2. In the case of Yusuke lacquerware, the following techniques or methods shall be used:
  (1) The base coat should be applied by "cloth application" or "paper application," followed by "ground coating," "padding with cut paper," and "rust coating."
  (2) The top coat shall be applied after the intermediate coat and the intermediate coat has been sanded, and then refined lacquer shall be applied.
  (3) Decoration shall consist of a combination of at least two of the following: "applying gemstones," "applying rust-colored paint," and "applying foil."
  (4) The finishing touches shall be done by "roiro lacquering".

   

  3. In the case of mother-of-pearl lacquerware, the following techniques or methods shall be used:
  (1) The base coat should be applied by "cloth application" or "paper application," followed by "ground coating," "padding with cut paper," and "rust coating."
  (2) The shells shall be attached by "applying and removing white pigment" or "rust wrapping".
  (3) The finishing touches shall be done by "roiro lacquering".

   

  raw materials

  １ 漆は、天然漆とすること。

  2. The wood used shall be Katsura, Tochigi, Magnolia, or Hinoki cypress, or a material of equivalent quality.

• Work scene

  Work scene

  Currently, TAKAOKA Shikki (Lacquerware) employs three techniques: "Aogai-nuri," "Chokuri-nuri," and "Yusuke-nuri." Here, we will introduce the process of "Aogai-nuri." The process can be broadly divided into "Wood preparation," "Undercoating," "Aogai-nuri," and "Topcoating."

  Process 1: Wood preparation process

  I make boxes, shelves, and other similar items. Especially for writing boxes, I use a single plane to carefully carve the surface, creating subtle curves.

  

  Step 2: Substrate preparation step 1

  Apply a uniform layer of wood filler powder to ensure that the weave of the fabric glued to the wood is neatly filled.

  

  Step 3: Undercoat (Step 2)

  Once the wood has been evenly sealed, lacquer is applied. After the lacquer dries, the surface is sanded, and the priming process is complete.

  

  Step 4: Creating the design for Step 1 of the abalone process.

  We create designs while considering the process of inlaying with mother-of-pearl and its effects. This process is extremely important and creative, requiring exceptional observational and expressive skills.

  

  Process 5: Blue shell process 2 shell cutting

  The design is transferred onto the shell, and then the shell is cut out. Straight lines are cut with a straight blade ("cutting"), small pieces are cut with a chisel or carving knife ("stab cutting"), and free-flowing curves such as animals and birds are cut out using a needle ("needle cutting"). Needle cutting, in particular, requires skilled technique.

  

  Step 6: Attaching the blue shell to the blue shell (Step 3)

  After transferring the design onto the wood, a thin layer of lacquer is applied to the area where the mother-of-pearl will be attached. The mother-of-pearl is then placed on top of the lacquer. The lacquer acts as an adhesive, causing the shell to adhere to the wood.

  画像をクリックすると動画が再生されます

  Step 7: Abalone shell engraving (step 4)

  Once the lacquer beneath the mother-of-pearl has completely dried, the faces of the figures, the centers of the flowers, and other details are drawn with an extremely fine needle. We push the limits of expression by utilizing traditional techniques. The mother-of-pearl process is complete once the hair engraving is finished.

  

  Step 8: Topcoat Step 1 (Small and Medium Coating)

  The entire wooden surface, including the area over the mother-of-pearl inlay, is coated with lacquer. After the lacquer dries, a chisel or similar tool is used to scrape off the lacquer only from the mother-of-pearl inlay.

  

  Process 9: Topcoat Process 2 - Topcoat

  The entire piece is then coated with a topcoat. After the lacquer dries, the entire piece is polished with Shizuoka charcoal. Next, it is polished with black charcoal, and finally, the entire piece is polished to a crisp with a mixture of polishing powder and rapeseed oil.

  画像をクリックすると動画が再生されます

  Step 10: Topcoat step 3: Rubbing lacquer

  Apply a thin layer of raw lacquer by rubbing it in. Once the lacquer is dry, polish it with your palm using a mixture of rapeseed oil and horn powder. Repeat this process 3 to 4 times to complete the process.

  

   

• Close-up

  Close-up

  TAKAOKA Shikki (Lacquerware) brings out the ultimate beauty of seashells.

  TAKAOKA Shikki (Lacquerware) has three main types: "Chokugaku-nuri," which involves applying colored lacquer to carved wooden bases; "Yusuke-nuri," which incorporates a variety of techniques such as gem inlay and rust-colored painting; and "Aogai-nuri," which involves painting with brightly colored shells. This time, we spoke with an Aogai-nuri craftsman.

   

  Preserving and changing

  The process of creating aogai lacquerware is divided into specialized tasks, with woodworkers, aogai artisans, and lacquerers working together to produce the finished product. The woodworkers create boxes and vessels from wood, the aogai artisans attach the shells, and the lacquerers apply the undercoat and topcoat. Yoshinori Musashigawa, whom we interviewed for this article, is an aogai artisan. His main job is to design patterns, cut thinly shaved shells into the shapes of birds and flowers, and attach them to the wooden base. "I want to cherish the traditional patterns that make Takaoka lacquerware instantly recognizable," he says, while also adding, "I'm thinking about designs that blend into modern life." He is always conscious of what should be preserved and what should be changed. The products he works on are mostly practical items such as trays, stationery boxes, and compact boxes.

  

  Yoshinori Musashigawa. Born in 1949. His favorite alcoholic beverage lately is "Katsukoma".

  "Make it so that the shells look beautiful."

  The shells used are turban shells, white mother-of-pearl, black mother-of-pearl, Mexican abalone (glitter shell), and abalone. The craftsman who polishes (thins) the shells is in Osaka, where he finishes them to a thickness of about 0.1 mm. If you look closely at the polished shells, you will see that each one has a different color and pattern. It is Musashigawa's job to make good use of these differences. "Even now, my mentor who taught me long ago tells me, 'Make sure the shells look beautiful.' I am always struggling with how to express them." Should the grain of the shell (the lines that look like wood grain) be vertical or horizontal? Which shells should I use where and how? What about when it's a flower? What about when it's a bird? There are many things to consider. "How to bring out the best in the materials is a lifelong challenge," says Musashigawa.

  

  Skilled hands swiftly carve smooth curves onto the shell.

  Things that reveal their "usable flavor"

  Lacquerware develops character the more it is used. "Children never let go of old stuffed animals because they play with them all the time and become attached to them. Similarly, lacquerware gets scratched as it is used, and develops a 'character' from use." Lacquer is an extremely durable coating and is basically repairable. In that sense, it can be used forever. A deep attachment develops over time. Some elementary schools in Takaoka City use TAKAOKA Shikki (Lacquerware) for their school lunch trays. This fulfills the wishes of the makers who wanted children to become familiar with lacquerware from a young age. "People today don't have much contact with lacquerware, so they don't know about it, but I think they will understand its value if they actually hold it in their hands and use it," says Musashigawa. His words are persuasive because he takes pride in making "authentic" products.

  

  A young female staff member who will be taking over is currently working.

  Bringing lacquerware into everyday life

  Standing before a traditional aogai-nuri (shell-inlaid) table, Mr. Musashigawa narrowed his eyes and said, "Craftsmen generally tend to overdo it." This likely refers to their unwavering dedication to creating subtle differences that buyers might not even notice. However, creating those subtle differences requires considerable effort and skill. Perhaps in the future, buyers should cultivate the knowledge and eye to recognize this. Mr. Musashigawa also said, "I want as many people as possible to know the beauty of lacquer, shell, and materials. First and foremost, they need to see and touch it directly. And above all, I want them to use lacquerware in their daily lives." He showed renewed enthusiasm for lacquerware production, adding, "To that end, I want to offer a wide range of lacquerware, from inexpensive to high-end items."

  

  The new product, which features natural stone coated with mother-of-pearl, is playful and well-received.

  Anecdotes

  shells of TAKAOKA Shikki (Lacquerware)

  While lacquerware decorated with inlaid shells is generally called "raden," why is it called "aogai-nuri" (blue shell lacquerware) in TAKAOKA Shikki (Lacquerware)? This is because it derives from the thin shells that are characteristic of aogai-nuri.
  There are two types of shells used in Aogai-nuri: one that is about 0.3 mm thick, the same as in general raden (mother-of-pearl inlay), and another that is about 0.1 mm thick, which is unique to Aogai-nuri. When these thin shells are attached, the underlying black lacquer shows through, making the shells appear blue, hence the name "Aogai-nuri" (blue shell lacquer).
  By the way, there are many different types of shells. The most commonly used is the abalone shell. It is characterized by its alternating shimmer of a unique blue and pink color. The yakugai, also known as the yakugai, is harvested from the waters off Yakushima Island. It has a subdued luster and an elegant, refined shine. Other shells used include the butterfly oyster harvested off the coast of the Philippines and New Guinea, and the Mexican abalone (glowing shell) from Mexico.
  Each piece has its own unique characteristics, and it's fascinating to compare them. When you look at abalone shell lacquerware, why not take your time to carefully examine the shells and find a piece that suits your taste?

  • 

    Polished shells have a mystical color.

  • 

    Various types of shellfish compete to showcase their beauty.