KAGAWA Shikki (Lacquerware) originated in the late Edo period when Tamakaji Zōkoku researched lacquerware techniques such as "Kinma" and "Zonsei" that had been introduced from Thailand and China.
It all began with the creation of new techniques by combining these with traditional Japanese methods. Inheriting these techniques, a wide variety of distinctive lacquerware is currently produced, primarily in Takamatsu City, Kagawa Prefecture, and these are collectively known as "KAGAWA Shikki (Lacquerware)." It boasts the widest variety of products in Japan, including low tables, display cabinets, trays, tea coasters, and confectionery containers.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. In the case of konjac paste, the following techniques or methods shall be used:
  (1) The base preparation shall be carried out by one of the following methods:
  (i) In the case of a solid base, raw lacquer is applied, followed by "cloth covering," and then raw lacquer and a mixture of raw lacquer and polishing powder are repeatedly applied.
  (b) For other types of substrates, apply cloth and then a base coat, followed by repeated application of raw lacquer.
  (2) For the undercoat, apply refined black lacquer and sand it down, repeating this process at least seven times.
  (3) The top coat shall be applied with refined black lacquer and then sanded.
  (4) The decoration involves repeatedly performing "kenbori" (carving with a quill), "color filling" with refined colored lacquer, and then polishing.
  (5) The finishing touches shall be done by "roiro lacquering".

   

  2. In the case of Zoya lacquerware, the following techniques or methods shall be used:
  (1) The base coat is applied by first coating it with a mixture of raw lacquer, red iron oxide, and pine soot, and then repeatedly applying raw lacquer.
  (2) The lacquering process involves applying and removing the plaster, and then repeatedly applying refined raw lacquer using a tampon to create a "rubbed lacquer."

   

  3. In the case of carved lacquerware, the following techniques or methods shall be used:
  (1) The base preparation shall be carried out by one of the following methods:
  (i) In the case of a solid base, raw lacquer is applied, followed by "cloth covering," and then raw lacquer and a mixture of raw lacquer and polishing powder are repeatedly applied.
  (b) For other types of substrates, apply cloth and then a base coat, followed by repeated application of raw lacquer.
  (2) For the undercoat, the process of applying refined lacquer and then sanding it down is repeated at least 14 times.
  (3) The decoration is done by "carving with a knife" and "carving with a scraping knife," followed by sharpening.
  (4) The finishing touches shall be done by "roiro lacquering".

   

  4. In preserving the spirit, the following techniques or methods shall be used:
  (1) The base preparation shall be carried out by one of the following methods:
  (i) In the case of a solid base, raw lacquer is applied, followed by "cloth covering," and then raw lacquer and a mixture of raw lacquer and polishing powder are repeatedly applied.
  (b) For other types of substrates, apply cloth and then a base coat, followed by repeated application of raw lacquer.
  (2) For the undercoat, apply refined black lacquer and sand it down, repeating this process at least seven times.
  (3) The top coat shall be applied with refined black lacquer or refined colored lacquer, and then polished.
  (4) Decoration involves applying color using refined colored lacquer, followed by "carving".
  (5) The finishing process involves "rubbing" the refined raw lacquer, followed by "inserting and removing the straw mat."

   

  5. In the case of Goto lacquerware, the following techniques or methods shall be used:
  (1) The base preparation shall be carried out by one of the following methods:
  (i) In the case of a hard base coat, raw lacquer is applied and then "sealed," and then the process of applying raw lacquer and sanding is repeated.
  (b) For other types of substrates, apply cloth and then a base coat, followed by repeated application of raw lacquer.
  (2) The undercoat is applied by sanding after applying refined lacquer.
  (3) For the top coat, apply "vermilion paint," then apply vermilion lacquer, and then "sand the handle."
  (4) The finishing touches shall be "wiping."

   

  raw materials

  １ 漆は、天然漆とすること。

  2. The wood used shall be horse chestnut, zelkova, pine, or cherry, or timber of equivalent quality.

• Work scene

  Work scene

  Using the Zogoku-nuri technique, one of the representative traditional methods of KAGAWA Shikki (Lacquerware), this piece is finished with a calm and sophisticated look based on black lacquer.
  Named after its creator, Tamakaji Zokoku, this lacquerware is called "Zokoku-nuri." It involves repeatedly applying lacquer to a wooden base and finally sprinkling it with powder from the wild reed (Zizania latifolia) that grows naturally around ponds and riverbanks. It has a deep, rich texture, and the more it is used, the more it develops a beautiful sheen and a more refined look.

  Process 1: Wood hardening

  We use only raw lacquer to coat the unfinished wood, which has been hollowed out from a horse chestnut tree. This hardens the wood. This is an extremely important step that forms the basis for all the processes that will follow.

  

  Process 2: Wood sharpening

  The wood is sanded using a lathe. This process smooths the surface and also improves adhesion to the next coat. When making lacquerware, wet sanding using water and waterproof sandpaper is frequently used. When multiple coats of lacquer are applied, this wet sanding process is included between coats. For example, if five coats of lacquer are applied, wet sanding will be done four times between coats. The waterproof sandpaper used for wet sanding is changed from coarser to finer as the process progresses.

  

  Step 3: Applying multiple coats

  Again, only raw lacquer is used, and several coats are applied. A wet sanding process is included between coats. Lacquer does not dry for a full day after each coat. In other words, if five coats are applied, at least five days are required. Also, it is important to wait until the surface is completely dry after each coat before proceeding to the next step.

  

  Step 4: Coating

  Raw lacquer is used as an adhesive, and a black powder called makomo (a type of grass that grows wild along riverbanks; the black fruit is ground into a black powder, mainly used in traditional Chinese medicine) is applied. In Zoya lacquerware, this black powder gets into the swirling patterns of the wood, creating a deep, lustrous black finish. Lacquer has primarily been used as a paint to increase water resistance, but sometimes it is mixed with animal glue or glutinous rice and used as an adhesive. It seems that our ancestors used lacquer as a multi-purpose paint.

  

  Step 5: Polishing

  After polishing the surface again using a potter's wheel, raw lacquer is used to create a glossy finish. This process forms the basis of the deep, semi-glossy black finish. This polishing process is done gradually in several stages to create a rich, deep luster. If the polishing is done in just two or three stages, the surface will be shiny, but the rich, deep luster that comes from within the vessel will not be achieved. The deep, unique luster of lacquer is created by performing this process in several stages. When making lacquerware, it is essential not to rush.

  

  Step 6: Top Coat

  After sanding the edges, an undercoat of black lacquer is applied to the edges. (The undercoat is a base coat applied before the finish coat.) The edges are sanded again, and a topcoat of black lacquer is applied. (The topcoat is the finish coat.) Once the edges are painted, raw lacquer is used to adjust the overall sheen and complete the piece. (30-35 days)

  

  

   

• Close-up

  Close-up

  The pinnacle of lacquer art, the kingdom of lacquerware (Kagawa's lacquerware)

  Overseas, ceramics are called "China" and lacquerware is called "Japan," both receiving admiration from enthusiasts. In recent years, the discovery of brightly colored lacquered tools from Jomon period ruins has attracted attention, highlighting the long history of lacquer in Japan. Kagawa lacquerware flourished during the Tokugawa period under the encouragement of Lord Matsudaira Yorishige, a lord who loved tea and flowers, and became known as a kingdom of lacquerware.

   

  The allure of jet-black lacquerware deepens with use.

  Kagawa lacquerware is characterized by an additional decorative process called "kashoku" that is added after the usual topcoat application. The final finish is achieved by repeatedly applying layers of lacquer and then applying designs of flowers, birds, and landscapes, or stylized patterns by rubbing the colors onto the surface. This time, we visited the workshop of Shunsetsu Nishioka, a certified traditional craftsman specializing in Kinma, a technique unique to Kagawa Prefecture, and spoke with him.

  

  1992, Prime Minister's Award: Red Kinma Round Tray (by Haruyuki Nishioka)

  My encounter with lacquerware was purely by chance.

  "I didn't initially intend to enter this field," Nishioka says. After graduating from school, he tried to get a job at a printing company, but the recruitment was already closed. So, he and five friends joined a lacquerware furniture company run by the parents of one of his classmates, which made lacquerware tables and other items. At the time, KAGAWA Shikki (Lacquerware) tables boasted the highest production volume in Japan, and demand was high, so the economy was booming. "But on my third day of work, I developed a rash from the lacquer, my whole body swelled up and turned bright red, and I was bedridden for two weeks." Nishioka, who had no prior knowledge of lacquer, was surprised at first, but he didn't think about quitting his job. For the past 50 years, Nishioka has walked this path alone, and his relationship with lacquer continues to this day.

  

  The design is carved into the lacquer, which has been applied in multiple layers, using a chisel.

  Refining skills through encounters with master craftsmen

  "The company president was very understanding and allowed us young people to submit our work to lacquerware contests to hone our skills." Furthermore, the Kagawa Prefectural Lacquerware Research Institute was established, and he was able to study there as one of the first students. His encounters with master craftsmen such as the late Joshin Isoi and the late Soseki Kagawa, who later became Living National Treasures, further refined Nishioka's skills. Thanks to this, Nishioka is proficient not only in the kinma technique but also in all other lacquerware techniques. His abilities were recognized, and in 1979, he was certified as a Traditional Craftsman.

  

  Tamakaji Zokoku, the founder of Kagawa lacquerware, pioneered a new world of lacquer art by incorporating ancient techniques.

  Characteristics of KAGAWA Shikki (Lacquerware) that convey delicate techniques

  Kagawa's lacquerware craftsmanship flourished during the Edo period when Lord Matsudaira Yorishige was transferred from Mito to the Takamatsu Domain. Under the understanding and protection of the lord, the world of Kagawa lacquerware, a world of exquisite and luxurious craftsmanship, developed with great care and effort, blossomed. The techniques are divided into five categories: Kinma, Zonsei, Choshitsu, Goto-nuri, and Zokoku-nuri. Among these, the Kinma technique, a representative method, is said to have been introduced from Burma, and Tamakaji Zokoku, known as the founder of Kagawa lacquerware, is said to have developed his own unique method. Kinma is a technique that involves repeatedly applying layers of lacquer, carving patterns in different colors using a stencil, and then filling the resulting depressions with colored lacquer. This process is repeated and involves over 60 steps.

  

  These are important tools for lacquerware. Human hair (especially the hair of female divers) is ideal for brushes, but it seems to be difficult to obtain these days.

  Innovating my own unique design within the framework of tradition.

  "The most challenging part is the design. Studying old things by looking at documents like those from the Shosoin Treasure House, and figuring out how to incorporate new elements is both enjoyable and painful." Since his first acceptance into the Japan Traditional Crafts Exhibition in 1958, Mr. Nishioka has been selected almost every year. In 1992, he was awarded the Prime Minister's Prize. His son, Tatsumi, has also entered the world of lacquer art and is now a design teacher at a crafts high school. "I am always grateful for the invaluable skills I was taught. If I had probably gone to work for a printing company as I initially hoped, my life wouldn't be what it is today. Human encounters are truly mysterious." In his workshop, bathed in the setting sun, Mr. Nishioka smiled with gentle eyes.

  Craftsman Profile

  Nishioka Shunsetsu

  A master craftsman who has been selected for the Craft Exhibition every year since his first acceptance in 1958.

  

  "I'm truly grateful to have been taught such wonderful techniques," said Nishioka with a smile.

  Anecdotes

  Kagawa lacquerware developed under the protection and understanding of the feudal lord (Lord Matsudaira).

  Mr. Nishioka, who has mastered all techniques related to lacquerware, recently received a request from a temple to restore its principal image. The statue was an eleven-faced Kannon made in the late Heian period and was in a severe state of disrepair. The head priest requested that the statue not be made gilded, but rather restored while somehow retaining its aged appearance. Mr. Nishioka removed the spirit from the statue, then carefully finished it, applied lacquer again, and was able to restore it exactly as requested. The delighted priest then came to him again, asking him to somehow age two brand-new, gilded Buddha statues that he had recently purchased. Mr. Nishioka also used his skills to fulfill this request. Now, the three Buddha statues are lined up and carefully enshrined in the temple.

  

  A beautifully restored Eleven-Headed Kannon statue from the Heian period, retaining its original patina.