The oldest known example of WAJIMA Nuri (Lacquerware) is a "vermilion-lacquered door" made during the Muromachi period, but archaeological excavations have uncovered lacquerware and tools from the Kamakura period.
It is known that lacquerware was produced even in earlier times. During the Edo period, durable lacquerware was used in the homes of farmers and merchants throughout Japan.
During the Meiji era, they began to be used in restaurants and inns, and gradually more elaborate designs such as chinkin (gold inlay) and makie (lacquerware with gold or silver powder) were added.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. The base preparation shall be carried out using the following techniques or methods:
  (1) After applying raw lacquer to the wood, the process involves "cloth covering" using hemp or cheesecloth coated with "lacquering cloth."
  (2) Apply a mixture of raw lacquer, rice paste, and "Wajima powder" and repeatedly sand it down.

   

  2. The top coat shall be applied using refined lacquer in the "hana-nuri" or "roiro-nuri" style.

   

  3. If decoration is to be applied, it shall be done by chinkin (gold inlay) or makie (lacquerware with gold or silver powder).

   

  4. 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 flat or bent objects, they shall be formed using "kokuso lacquer".

   

  raw materials

  １ 漆は、天然漆とすること。

  2. The wood used shall be cypress, zelkova, katsura, or magnolia, or timber of equivalent quality.

• Work scene

  Work scene

  Generally, the lacquering process can be explained in four main stages.
  First, "wooden blanks" are created from highly durable wood, tailored to each individual shape. At this stage, the key factors are the proper drying of the raw wood to obtain a blank without warping, and the skill of the craftsman to finish it to precise dimensions.
  The wooden base, crafted by a woodworker, is sent for priming before proceeding to the lacquering process. It is no exaggeration to say that the durability of the lacquerware and the quality of the topcoat depend on the quality of this priming work.
  After the undercoating process, the painting finally begins. With lacquer, the process involves repeatedly applying and sanding the lacquer, progressing through the undercoat, intermediate coat, and topcoat stages. Moisture is necessary for the applied lacquer to "dry," so it might be easier to understand if we say it "hardens" rather than "dries."
  While everyday lacquerware is often finished with only a top coat, sometimes pictures or designs are added. This is called "decoration." Examples of decoration include "makie," which involves sprinkling gold and silver powder; "chinkin," which involves carving patterns into a lacquered surface and then applying gold leaf to create a gold line pattern; and "raden," which involves cutting thin pieces of seashell into the shape of a design and using them as decoration.
  Now, let's take a look at some of the main steps.

  Step 1: Wood base

  Woodturners are divided into four types depending on the process. Bowl turners use a lathe to create round objects such as bowls, dishes, and plates. Materials used include zelkova and Japanese cherry. Tools include a lathe and planes. The planes are all made by the bowl turners themselves using blacksmithing tools.

  Woodwork for joinery

  

  This is also called kakumono woodworking. The materials mainly used are cedar, and items such as tiered boxes, inkstone boxes, trays, and square basins are made. Tools include saws, planes, chisels, and molds. Woodworking machines such as automatic planes are also frequently used.

  curved wood

  

  Thin planks are soaked in water to soften them, then bent to create round trays, bridle-shaped trays, lunch boxes, and other items. The main material is straight-grained planks of Japanese cypress. Tools include woodworking machinery, as well as saws, planes, hatchets, and bending molds called "korogashi."

  Magnolia wood (hookiji)

  

  This craftsman carves intricate shapes such as cat's feet, spouts for sake pitchers and sake bottles. They use materials like magnolia, katsura, and ash to create low tables, shelves, and flower stands. Their tools include woodworking machinery, saws, planes, chisels, knives, mortars, and molds, but they particularly use small planes for carving complex curves.

  

  Process 2: Groundwork

  The undercoat application process involves correcting joints and knots in the wood, reinforcing vulnerable areas, and creating a durable and fine-textured finish. Tools used include a cutting board (workbench), spatula, lacquerer's knife, and plane. For polishing, a polishing lathe and whetstones are used. This process also includes the first, second, and third coats, which involve applying a base powder to give WAJIMA Nuri (Lacquerware) its characteristic durability.

  

  Step 3: Top Coat

  High-quality topcoat lacquer is applied in several layers using a brush. Fine dust is removed with a dust removal brush, a suitable amount of lacquer is roughly applied with a bridging brush, and then the final coat is applied with a finishing brush. Any dust that adheres during the process is carefully picked up with a bird feather shaft or a maki-e brush, and the piece is dried in a rotating bath while being turned over to prevent the lacquer from dripping.

  画像をクリックすると動画が再生されます

  工程4： 加飾

  There are different types of decorative finishing processes. Roiro involves further smoothing the top coat with charcoal and repeatedly polishing it while rubbing in more lacquer. This process produces a mirror-like, transparent shine. The final step is a delicate process where the surface is polished using only the soft skin and fingers of a human, leaving no scratches whatsoever.

  Makie (lacquerware with gold or silver powder)

  

  The design is drawn on washi paper, then transferred to the paper, and patterns are drawn with lacquer along the lines. Gold and silver powders are then sprinkled on top. The surface is then coated with lacquer again and polished to bring out the luster of the gold and silver. There are various techniques for maki-e, including hira-maki-e (flat maki-e), togidashi-maki-e (polished maki-e), and taka-maki-e (raised maki-e).

  Chinkin

  

  The design is first transferred from a sketch drawn on washi paper, and then various types of chinkin chisels are used to carve the pattern. After that, a thin layer of lacquer is applied, and any excess lacquer is wiped off with washi paper. Gold and silver foil or powder is pressed into the pattern and fixed in place, and then the excess foil or powder is wiped off, revealing the vibrant pattern.

  画像をクリックすると動画が再生されます

   

• Close-up

  Close-up

  The secret to durable WAJIMA Nuri (Lacquerware): "Cloth-covered, solid base"

  Among the many lacquerware producing regions, WAJIMA Nuri (Lacquerware) is said to be the most durable. The secret lies in the advanced techniques used with materials unique to Wajima. There's even a legend that it was the result of a "divine revelation"...

   

  A lacquerware production area that is well-known throughout Japan

  I stepped off the train at Wajima Station on the Noto Railway, which sadly discontinued its Anamizu-Wajima section at the end of March (2001). As I strolled leisurely through the tranquil townscape, I noticed that lacquerware shops lined both sides of the road leading to the morning market street, famous for its fresh seafood. Wajima is probably the most well-known lacquerware town in Japan.

  The base is crucial; the essence of WAJIMA Nuri (Lacquerware)

  The defining characteristic of WAJIMA Nuri (Lacquerware) is its exceptional durability. Having originated from everyday household items, WAJIMA Nuri (Lacquerware) needed to be incredibly strong. When asked about the secret to its robustness, lacquer craftsman Yasuo Ichinaka replied, "We pay the most attention to the undercoat." Even this undercoating process alone involves various ingenious techniques. Let's take a closer look at that process.
  First, the wood is soaked in raw lacquer in a process called "kiji-gatame," and then the easily cracked parts of the bowl, such as the rim, are reinforced with cloth in a process called "nu-kise." Finally, lacquer is applied to the boundary between the cloth and the wood in a process called "sōmitsuke."
  From here, the process using jinoko, a type of ground powder unique to Wajima, begins. First, coarse jinoko is mixed with lacquer and applied as a base coat (ippenjitsuke). Then, finer jinoko is used for the second base coat (nihenjitsuke). And even finer jinoko is used for the third base coat (sanhenjitsuke). The lacquer seeps into the fine pores of the jinoko and hardens, increasing its durability. Of course, polishing and grinding are done between each stage to improve the adhesion of the lacquer. If the base coat is not done properly, problems such as the cloth covering shifting during the top coat stage will occur. "They say the beginning is crucial in everything, and it's the same with lacquer painting."

  

  Furniture and other furnishings such as desks are also made in Wajima.

  A divine message? "Use the soil from Mount Komine."

  There is a legend that the use of "Ji no Ko" (earth powder) in lacquerware began with a divine revelation. The revelation instructed them to use the soil from Mt. Komine in Wajima, and that's when diatomaceous earth was discovered. However, it couldn't be used for lacquering in its raw state. It had to be roasted and turned into a powder before it could finally be used as Ji no Ko. Regardless of the true meaning of the divine revelation, one is amazed by the ingenuity and efforts of our ancestors to create strong lacquerware. It truly is a testament to the craftsman's dedication. Even today, the Ji no Ko Festival is held every June on Mt. Komine to commemorate and express gratitude for the hard work of their ancestors.

  

  These surprisingly refreshing coffee cups also have the added benefit of being insulated.

  The key to the finished product is its appearance and shine.

  Looking at the finished product, he says, "I'm happy when the appearance and sheen are beautifully done. For appearance, it's important that the thickness of the lacquer is even. It's proof that the base coat was done well." For example, if the wood isn't polished properly during the hardening stage, the cloth won't stick well, and the finished appearance will be poor.
  The color of the lacquerware is also an important element. "When applying lacquer, the color changes depending on the pigment, the mixture of lacquer, and even the weather. Even if you think you've achieved the desired color today, if it rains tomorrow, the drying process will change, and when it dries a few days later, it will be a different color than you expected. It's that delicate. That's why it's actually very difficult to fulfill an order to paint something in a specific color." When asked about his favorite color, Mr. Ichinaka replied, "Ancient vermilion. It's a beautiful, deep color with a subtle mix of red and black. But it's very difficult to mix."

  

  Ms. Ichinaka explains the different colors using actual bowls.

  Improving good things from 100 years ago to create something new

  Wajima lacquerware artisans also take on a producer-like role, considering the shapes and patterns of their pieces. Another characteristic of WAJIMA Nuri (Lacquerware) is its itinerant sales style. The artisans themselves travel around the country to meet their regular customers, taking orders and selling their products. This is a historical sales system that originated with Kitamae ships and is still practiced today. "I'm grateful that I can talk directly with customers and hear their various requests," says Mr. Ichinaka, who has many regular customers in Osaka, Hyogo, Tokyo, and other areas.
  When asked about his aspirations for the future, Mr. Ichinaka said with enthusiasm, "I want to improve good products from about 100 years ago and create something new. Many of the products from that era have great designs. I have a product that my father designed and is still in the process of being made. It's quite old, but I'd like to finish it as well." I hope he will create something that is both old and new.

  

  Earrings and other WAJIMA Nuri (Lacquerware) ornaments

  Craftsman Profile

  Yasuo Ichinaka

  A second-generation lacquer craftsman who started working at the age of 18. He handles everything from preparing the wood base to applying the top coat.

  Anecdotes

  Unique ways of selling and buying lacquerware

  Then and now, lacquerware is an expensive item that requires the time and effort of skilled craftsmen to produce. It's not something you can easily buy. That's where the Wanko system came in. It was used by lacquer artisans in Wajima as a way to sell their lacquerware.
  For example, ten buyers might come together and each contribute 1/10 of the price. A year later, when the lacquerware is completed, they draw lots to select one buyer. Then, they collect the money again and draw lots the following year. The lacquerer is promised 10 years of work, and the buyers are given the expectation that they might be able to acquire something in just one year that they might otherwise have to save money for 10 years to obtain.
  This is an interesting system born from the ingenuity of both buyers and sellers. In modern times, it would be nice to use the time between ordering and completion to save money for lacquerware. The enjoyment of waiting is also a luxury in itself.

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    Enjoy the luxury of having a craftsman cater to your specific preferences.