During the Edo period, the Kaga Domain, which held power in the region centered around present-day Ishikawa Prefecture, focused on promoting arts and crafts.
KANAZAWA Shikki (Lacquerware) originated in the early Edo period when the feudal lord invited Igarashi Doho, a renowned artist of Kodaiji makie (lacquerware with gold or silver inlay), a representative style of Momoyama culture, to serve as an instructor. Other master craftsmen, such as those specializing in inro makie (lacquerware with gold or silver inlay for inro cases), were also invited from Edo, further establishing the tradition of Kaga makie. Thus, KANAZAWA Shikki (Lacquerware), nurtured by the Kaga domain, became a unique art form of lacquerware that combined the elegance of aristocratic culture with the powerful culture of the samurai class.

• 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) For boards, use "edge clamps".
  (2) In the case of bent products, the bending shall be done by rolling or turning.
  (3) In the case of carved objects, rough carving shall be performed first, followed by finish carving.
  (4) In the case of turned objects, the shaping shall be done using a lathe and a lathe plane.
  (5) In the case of dry lacquer, refined lacquer is applied to the original form, followed by "rusting," "ground application," and cloth covering, and then "demolition."

   

  2. The undercoat, intermediate coat, and top coat shall be applied in one of the following ways:
  (1) When applying the plaster, the following techniques or methods shall be used:
  (i) The base should be constructed using a "genuine, solid foundation" method.
  The intermediate coat involves applying black lacquer and then sanding it with water.
  H. For the top coat, after applying a "rubbed lacquer" with raw lacquer, refined lacquer is applied.

  (2) In the case of multi-colored plastering, the following techniques or methods shall be used:
  (i) The base should be constructed using a "genuine, solid foundation" method.
  The intermediate coat involves repeatedly applying black intermediate lacquer and then sanding it with water.
  The top coat is applied by first applying roiro lacquer, then sanding and rubbing it, and finally applying raw lacquer as a "rubbing lacquer" and repeatedly sanding it again.

  (3) In the case of brushwork, the following techniques or methods shall be used:
  (i) The base should be constructed using a "genuine, solid foundation" method.
  The intermediate coat involves applying black lacquer and then sanding it with water.
  H. For the top coat, raw lacquer is "rubbed lacquer," and then shibori lacquer is applied using a brush.

  (4) In the case of lacquering, one of the following shall apply:
  (i) For plastered finishes, the following techniques or methods shall be used:
  1) The base should be constructed using the "genuine solid foundation" method.
  2) For the undercoat, apply black undercoat lacquer and then sand it with water.
  3) For the top coat, apply a multi-colored lacquer, sand it with water, and then apply a red lacquer.

  (b) For plaid finishes, the following techniques or methods shall be used:
  1) The base should be constructed using the "genuine solid foundation" method.
  2) For the undercoat, apply black undercoat lacquer and then sand it with water.
  3) For the top coat, apply the roiro colored lacquer, wet sand it, apply the vermilion roiro lacquer, sand it in roiro, and rub the surface, then repeatedly rub raw lacquer and polish it in roiro.

  (5) In the case of pear-skin lacquerware, the following techniques or methods shall be used:
  (i) The base should be constructed using a "genuine, solid foundation" method.
  The intermediate coat involves applying black lacquer and then sanding it with water.
  The top coat is applied by first applying black lacquer or red iron oxide lacquer, then sprinkling pear-skin powder, applying powder stopper, dry sanding, applying pear-skin roiro lacquer, roiro sanding, and rubbing the surface, and then repeatedly applying raw lacquer and roiro polishing.

  (6) In the case of absorption coating, one of the following shall be used:
  (i) For plastered finishes, the following techniques or methods shall be used:
  1) The base should be constructed using the "genuine solid foundation" method.
  2) For the undercoat, apply black undercoat lacquer and then sand it with water.
  3) For the top coat, raw lacquer is "rubbed," refined lacquer is applied, "baked lacquer" is used to "pat" it, and then it is wiped off.
  (b) For plaid finishes, the following techniques or methods shall be used:
  1) The base should be constructed using the "genuine solid foundation" method.
  2) For the undercoat, the process involves repeatedly applying black undercoat lacquer and then sanding it with water.
  3) For the top coat, after applying the roiro lacquer, sanding it with roiro lacquer, rubbing the surface, "tatting" with "yakishiru" and wiping it off, raw lacquer is "rubbed lacquer" and then polished with roiro lacquer, and this process is repeated.

  (7) In the case of Negoro lacquerware, the following techniques or methods shall be used:
  (i) The base should be constructed using a "genuine, solid foundation" method.
  The intermediate coat involves applying black lacquer and then sanding it with water.
  The top coat is applied by applying black roiro lacquer, rough sanding, applying vermilion roiro lacquer, wet sanding, applying raw lacquer ("suri-urushi") and rubbing the surface, and then repeatedly applying raw lacquer ("suri-urushi") and polishing to a roiro finish.

  (8) In the case of Akebono lacquering, the following techniques or methods shall be used:
  (i) The base should be constructed using a "genuine, solid foundation" method.
  The intermediate coat involves applying black lacquer and then sanding it with water.
  The top coat is applied by applying red roiro lacquer, rough sanding, applying black roiro lacquer, wet sanding, "rubbing lacquer" using raw lacquer, and then rubbing the surface, and repeating the process of "rubbing lacquer" with raw lacquer and polishing to a roiro finish.

  (9) In the case of Ikkan-nuri, the following techniques or methods shall be used:
  (i) The base coat is prepared by hardening the wood with raw lacquer, then applying Japanese paper, and finally applying refined lacquer.
  The intermediate coat involves applying black lacquer and then sanding it with water.
  H. For the top coat, raw lacquer is "rubbed lacquer," and then refined lacquer is applied.

  (10) In the case of plastering, the following techniques or methods shall be used:
  (i) For the base coat, apply a mixture of persimmon tannin and polishing powder, polish it, and then apply refined lacquer.
  The intermediate coat involves applying black lacquer and then sanding it with water.
  H. For the top coat, raw lacquer is "rubbed lacquer," and then refined lacquer is applied.

  (11) In the case of a cloth-textured coating, one of the following shall be used:
  (i) For plastered finishes, the following techniques or methods shall be used:
  1) The base coat is prepared by hardening the wood with raw lacquer, then covering it with cloth and applying a "rust-patterned finish," followed by "rust-polishing."
  2) For the undercoat, apply black undercoat lacquer and then sand it with water.
  3) For the top coat, raw lacquer is "rubbed lacquer," and then refined lacquer is applied.
  (b) For plaid finishes, the following techniques or methods shall be used:
  1) The base coat is prepared by hardening the wood with raw lacquer, then covering it with cloth and applying a "rust-patterned finish," followed by "rust-polishing."
  2) For the undercoat, the process involves repeatedly applying black undercoat lacquer and then sanding it with water.
  3) For the top coat, after applying raw lacquer ("suri-urushi"), applying roiro lacquer, roiro sanding, and body rubbing, the process of applying raw lacquer ("suri-urushi") and roiro polishing is repeated.

   

  3. When applying maki-e (gold lacquer) decoration, the following techniques or methods shall be used:
  (1) In the case of flat maki-e, the pattern is drawn using "okime" and painted lacquer, followed by "powder sprinkling" and "powder hardening," and then "powder polishing."
  (2) In the case of raised lacquerware, the process involves "setting the edges," "raising the lacquer with charcoal powder," "polishing the charcoal powder," and "raising the lacquer" using raised lacquerware, followed by "raising the lacquer," "underpainting the top," "rubbing the body," "rubbing the lacquer" using raw lacquer, and drawing patterns using painted lacquer, after which "sprinkling the powder," "hardening the powder," "polishing the powder," and "polishing the powder."
  (3) In the case of polished maki-e, patterns are drawn using "okime" and "rose lacquer," followed by "powder sprinkling," "powder hardening," and application of various lacquers, then rough polishing, "rubbing lacquer" using raw lacquer, roiro fine polishing, body rubbing, "glossy rubbing lacquer" using raw lacquer, and final polishing to a glossy finish.
  (4) In the case of raised maki-e, the technique or method shall be one that applies raised maki-e with "sabi-takaage" and "takahadaage" and polished maki-e.

   

  raw materials

  1. The woodwork (excluding dry lacquer) shall be made of ginkgo, cypress, cedar, paulownia, black persimmon, sen, zelkova, magnolia, or chestnut, or other materials of equivalent quality.

  2. Natural lacquer must be used.

• Work scene

  Work scene

  Generally, the lacquering process can be explained in four main stages. First, there is the "woodworking" stage, where the wood is selected from highly durable woods such as zelkova, Japanese cherry, horse chestnut, cherry, chestnut, and magnolia, and the base is shaped according to the desired form. At this stage, the key points are the proper drying of the raw wood to obtain a woodwork 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. This priming work is not visible in the finished lacquerware. However, 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. This includes tasks such as filling holes and cracks in the joints and scratches of the wooden base with kokuso (a type of filler) and reinforcing vulnerable areas with cloth.
  After the undercoating process, the painting finally begins. Lacquer painting 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," and it might be easier to understand it as "hardening" rather than simply "drying." The speed of this drying is affected by the daily weather, and this is where the craftsman's skill is put to the test. The final topcoat is applied with the utmost care, so as not to let even the slightest dust or dirt adhere to it. While everyday lacquerware is often finished with only a topcoat, sometimes pictures or designs are added. This is called "decoration." Decorations 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 pattern for decoration.
  Now, let's take a look at some of the main steps.

  Process 1:

• Close-up

  Close-up

  Kaga lacquerware expresses the strength of samurai culture.

  KANAZAWA Shikki (Lacquerware) is renowned as a fine art and craft. Its magnificent and substantial finish is achieved through a highly advanced decorative technique called Kaga maki-e. In particular, the technique of raising and shaping the design in sections, known as shishiai togidashi maki-e, is a characteristic technique of Kaga maki-e.

   

  Catch up to and surpass your young apprentices.

  "Makie is the final step. The finished product goes directly to the customer. Seeing the customer's joy is what makes this job so rewarding." Kazumitsu Kiyose is the second-generation Kaga makie artist, having inherited the craft from his father. "I returned to my family home when I was 32. I started this work then, and at first, I worked desperately hard, not wanting to lose to the much younger apprentices. The interesting thing about makie is that as your skills improve, the range of expression expands more and more."
  KANAZAWA Shikki (Lacquerware) is highly regarded as a work of art among the many lacquerware producing regions, due to its sophisticated and magnificent maki-e (gold lacquer) technique. While much of the lacquerware throughout Japan originated from everyday tools used by ordinary people, KANAZAWA Shikki (Lacquerware) has a history as an aristocratic craft cultivated by the Maeda family, the feudal lords. The defining characteristic of Kaga maki-e is undoubtedly its opulence and elegance.

  

  Kaga lacquerware: beautiful gold color and delicate details

  The expression, polishing, and color of the gold are where the skill comes into play.

  "Since maki-e is a form of 'painting,' the key point is the expression. I want people to look at whether there are beautiful gradations of light and dark, and whether the shading is done well." Maki-e is a decorative technique in which a design is drawn with lacquer on a finished lacquerware, gold powder is sprinkled on top, another layer of lacquer is applied, and then it is polished to make the design stand out. Therefore, "judging the right amount of polishing is crucial. If it's not polished enough, the color won't come out, and if it's polished too much, the gold will be damaged. This is something that cannot be taught by others. It requires experience and intuition to polish it to the extreme. In particular, the raised gold maki-e technique requires the skill of a master. Depending on the location, the edges must be sharp, and conversely, they must be smooth, and it must be expressed well."
  And there's another important point that could be called the craftsman's originality: "The color of the gold. I create my own unique color, the 'Kiyose color.'" Customers are also drawn to the "Kiyose color" and become fans. "It takes 10 years to be able to finish a piece on my own. And then it takes another 10 years to create my own unique color of gold. I'm still just a beginner."

  

  The "nail plate" on the left thumb is like a palette.

  The craftsman's dedication to color and price

  "As long as the product comes from our workshop, we are absolutely meticulous about the color of the gold. It must be the color of Kiyose." His resolute tone reveals his unwavering commitment as a craftsman. "And then there's the price. Since my parents' generation, we've had a set price for each design, and we still don't change it. Of course, it's tough. But if we raise prices just because of the bubble economy, it would be a nuisance to our customers. 'Let the merchants make money' is what my parents taught me. The seller should take the profit margin. By doing so, there are no breaks in the craftsman's work, and they can concentrate on creating."

  

  The process of placing small gold plates onto an ivory case.

  If there's a fire, grab this first.

  "If there's a fire, the first thing I grab is the brushes. Because they're no longer available." The brushes used for maki-e (lacquerware with gold or silver powder) are made from mouse hair. Apparently, there are hardly any people left who make these brushes. "Next is the gold powder. Most maki-e artists keep a certain amount of gold stockpiled in their workshops. Because if they run out of gold in the middle of a project, they can't work. The lacquer dries up, and all the work done up to that point is wasted. So they calculate the amount of gold needed beforehand before starting work." And the third thing they grab is "the design. It's a design that has been passed down in the Kiyose family. It would be a disaster if it were lost. It's extremely valuable. I always take a picture of the finished product and store it together with the design."
  Throughout our conversation, Mr. Kiyose's meticulous attention to detail as a craftsman is evident. "Above all, I believe it's important to continue (this work) for as long as possible." To that end, he has also started new ventures, such as applying maki-e (gold lacquer) to glass, ivory, and tortoiseshell.
  In the workshop, you can also see the future third-generation craftsman (the son), steadily honing his skills. The dedication and commitment of the Kaga lacquerware artisans will undoubtedly be passed down to him.

  

  The tools used for the lacquerware, such as the brushes used for maki-e painting, are neatly arranged.

  Craftsman Profile

  ​Ikko Kiyose

  Mr. Kazumitsu Kiyose exudes a stubborn, craftsman-like spirit.

  With 26 years of experience as a craftsman since the age of 32, he faithfully adheres to his parents' teachings while also challenging himself and pioneering new fields unique to his own style.

  

  Anecdotes

  New materials open up the world of maki-e (lacquerware).

  Traditionally, maki-e (gold lacquer) was applied to lacquerware. However, Kaga maki-e craftsman Kazumitsu Kiyose is opening up new possibilities with his advanced techniques. He is now applying maki-e to glass, ivory, and tortoiseshell. This is a "new" form of maki-e, for which he even finds his own sources of materials. Of course, there were new problems that arose with using different materials. "With glass, there's the problem of adhesive. Ivory is porous, so the lacquer seeps into the gaps and turns it completely black." By solving these problems, he has opened up an entirely new world from traditional maki-e techniques. Traditional crafts have developed through the continuous ingenuity of craftsmen. Perhaps there's room for new traditional crafts to begin in the 21st century. I was able to find such enjoyment in the craft kingdom that tells the history of Kaga Hyakumangoku.
  A lovely ivory pendant with maki-e (gold lacquer) decoration.

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