The Making of Lacquerware: The Japanese Craft of Breathing Life into Wooden Vessels
Why Urushi Ware Can Be Used for Hundreds of Years
When you pick up a bowl at the dinner table, have you ever felt its deep luster and warmth? Urushi ware is one of Japan's traditional crafts, renowned worldwide. Made solely from natural wood and the natural lacquer "urushi," rather than plastic or metal, it boasts a durability of hundreds of years. Some existing urushi pieces have survived for thousands of years. Why are they so strong? The answer lies in the chemical properties of urushi itself and the decades of meticulous handiwork performed by artisans across dozens of processes. In this article, we will carefully guide you through the world of urushi ware, from the basic knowledge of what urushi is, through all the steps from wood shaping to lacquering, polishing, and decoration, to the unique characteristics of each production region and how to incorporate them into modern dining.
What is Urushi (Lacquer)?
Natural lacquer collected from the Urushi tree
Urushi is a natural lacquer collected from the sap of the lacquer tree (scientific name: Toxicodendron vernicifluum), a deciduous tree. This tree, which grows wild in various parts of Asia including Japan, China, Korea, and Vietnam, secretes a milky white sap when injured. This sap, carefully collected and refined, is called "kiurushi" (raw lacquer).
The collection of urushi is a process called "urushi-kaki," where skilled craftsmen make small incisions in the bark and scrape off the slowly seeping sap with a spatula. The amount of urushi collected from a single urushi tree in one season is only about 200 grams. Due to its scarcity and the effort required for collection, urushi is sometimes called "liquid gold." Domestically produced Japanese urushi is scarce and very expensive, so Chinese urushi is now widely used, but many artisans in traditional production areas like Wajima-nuri insist on using Japanese urushi.
Urushi components and hardening mechanism
The main component of raw urushi is a polyphenol compound called "urushiol," which accounts for about 60-65% of the total. The remainder consists of water, polysaccharides, and enzymes (laccase).
The mechanism by which urushi hardens is a chemical process called oxidative polymerization. The laccase enzyme in urushi acts as a catalyst for oxygen in the air, causing urushiol molecules to bond together repeatedly. The resulting high molecular network structure makes urushi extremely hard and strong.
It is important to note that urushi hardening requires "appropriate humidity and temperature," not high-temperature drying. An environment with 70-80% humidity and 20-25 degrees Celsius is optimal, and craftsmen dry urushi in a specially humidity-controlled room called a "muro." The dried urushi film becomes harder than plastic and has an extremely stable chemical structure.
Why urushi is waterproof, antibacterial, and heat-resistant
A hardened urushi film possesses the following excellent properties:
Waterproof: The dense polymer structure forms an impermeable film, preventing water molecules from penetrating. This allows the wood to retain its shape even when filled with liquids, without absorbing water.
Antibacterial: Urushiol has natural antibacterial and preservative properties. When used for tableware, it inhibits bacterial growth and can be used hygienically for extended periods. This is one reason why it has been used for dishes, medicine containers, and food storage containers since ancient times.
Heat resistance: The urushi film can withstand temperatures of up to about 100 degrees Celsius. It does not deform even when hot liquids are poured into it, and it also has insulating properties, so heat is not easily transferred to the hand when holding it.
Acid and alkali resistance: It is also strong against acids and salts, making it less prone to degradation from food.
These combined properties make urushi ware a vessel that "grows with use." The luster of urushi increases with long-term use, becoming even more beautiful, which is a unique charm of urushi ware.
Process of Making Lacquerware
The production of lacquerware largely consists of "wood base," "undercoating," "lacquering," "finishing," and "decoration" processes. While it varies depending on the region and technique, traditional lacquerware goes through 50 to over 100 steps to be completed.
Wood Shaping: Building the Skeleton of the Vessel
The foundation of lacquerware is the "kiji" (wood base). For the material, wood such as cypress, zelkova, magnolia, mulberry, or horse chestnut is chosen according to its intended use and the characteristics of the production region. For the wood base, there are two main types: "itame" (flat grain), which utilizes the beauty of the wood grain, and "masame" (straight grain), which is less prone to warping. These are used differently depending on the shape and purpose of the vessel.
There are two main methods for making the wood base. One is "rokurobiki" (lathe turning), where wood is fixed to a rotating lathe and carved with a blade to create round shapes such as bowls and sake cups. The other is a technique called "sashimono," where wooden boards are assembled to create square items such as multi-tiered boxes and trays.
Once the wood base is completed, it cannot be used as is. Wood has the property of shrinking and deforming as it dries. Therefore, timber that has been sufficiently dried and seasoned is chosen, or an additional drying period is set after shaping. The meticulousness of this preparation determines whether the finished product will be distorted or cracked.
Since the wood base utilizes natural wood, each piece has a unique grain. Therefore, no two pieces are exactly alike, and enjoying a one-of-a-kind piece is also one of its characteristics.
Undercoating: Foundation for Strength and Beauty
Once the wood base is prepared, the urushi process begins. The first stage is the "shitaji" (undercoating). The undercoating is a part that is not visible on the surface of the finished product, but it is one of the most important processes that determines the strength and beauty of the urushi ware.
First, as "kigatame" (wood hardening), thinly diluted urushi is soaked into the wood base to solidify the wood fibers. This prevents the wood from absorbing water and expanding or contracting later.
Next, "sabi-urushi" (rust lacquer), which is urushi mixed with diatomaceous earth called "jinoko" or sharpening powder called "tonoko," is applied uniformly and allowed to dry. This process is repeated many times to fill in the irregularities on the surface of the vessel. Scratches, knots, and other imperfections in the wood base are also carefully filled in.
The undercoating process alone, including drying, can take several weeks to several months. In regions like Wajima-nuri, where undercoatings are applied dozens of times, this process is carried out with particular care, which is the secret to its overwhelming strength.
Middle and Top Coats: Layering Repeatedly
Once the undercoat is ready, the process moves to the "naka-nuri" (middle coat). In the middle coat, highly refined urushi, more so than for the undercoat, is used to evenly smooth the surface. After drying the middle coat, the surface is carefully polished with a water-soaked whetstone. This is called "mizutogi" (wet polishing), and it smooths out fine irregularities on the surface so that the next coat can adhere beautifully.
And the final step is "uwa-nuri" (top coat). For the top coat, the highest quality urushi, "uwa-nuri urushi," refined by artisans over a long period, is used. The top coat urushi does not tolerate even the slightest speck of dust or air bubble. Artisans thoroughly clean the room where the coating is applied and take meticulous care to prevent dust from adhering from the air.
The brushes for top coating are sometimes handmade from fine downy hair, and they are designed to spread the urushi evenly. After coating, they are placed in a room and dried while managing humidity and temperature. This top coating process is sometimes finished by repeating polishing and coating, rather than completing it in one go.
Polishing and Buffing: Creating a Mirror-like Luster
After the topcoat dries, microscopic irregularities and unevenness in luster remain on the surface. These are addressed in the "polishing" and "buffing" processes.
Polishing involves using a whetstone with water or oil to carefully abrade the surface. Starting with a coarse whetstone and gradually moving to finer ones, the surface is made as smooth as a mirror. Finally, "sumitogi" (charcoal polishing) using charcoal powder is performed to enhance the uniformity of the luster.
After polishing comes "buffing." Using "kanokogo" (powder made from burnt deer antlers) or "migakiko" (polishing powder) made by mixing ultra-fine abrasives with oil, the surface is gently buffed with a cloth. By repeating this process, the urushi surface develops a deep luster. The unique shine of lacquerware, called "tsuya" (luster), is created through the effort of this polishing and buffing.
Decoration (Maki-e and Raden): Pinnacle of Decorative Techniques
Among the decorative techniques used to apply designs and patterns to the surface of urushi ware, the most famous are "maki-e" and "raden."
Maki-e: This technique involves drawing a picture with urushi and sprinkling gold, silver, or colored powder onto it before it dries to create a pattern. There are various types depending on how the powder is sprinkled and finished, such as hira-maki-e, togashi-maki-e, and taka-maki-e. Designs often feature Japanese nature and the four seasons, such as flowers and birds, pine, bamboo, and plum blossoms, elevating urushi ware to the realm of art.
Raden: This technique involves thinly shaving seashells such as abalone, turban shells, or mother-of-pearl, and attaching them to the urushi surface to create luminous and colorful decorations. The iridescent glow of the inner shell, combined with the black or vermilion of the urushi, creates a mystical and luxurious beauty.
These decorative techniques require such advanced skill that they can constitute an entire specialized profession. The highest quality urushi ware is completed when the work of maki-e artists and raden artisans, who have independently trained, is combined with that of the lacquerers.
Characteristics of Each Production Region
There are lacquerware production areas throughout Japan, each with its own unique history and techniques. Here are some representative regions:
Wajima-nuri (Ishikawa Prefecture): Japan's Highest Quality Lacquerware
Wajima City, Ishikawa Prefecture, is globally renowned as one of Japan's leading lacquerware producing regions. The greatest characteristic of Wajima-nuri is its unparalleled strength and thickness, achieved by mixing diatomaceous earth, known as "jinoko" and found only near Wajima, into the undercoat, making it superior to other regions' products.
The production of Wajima-nuri involves a division of labor with over 100 artisans, including wood shapers, lacquerers, maki-e artists, and chinkin (gold inlay) artists, each possessing highly specialized skills. Wajima-nuri is designated as a national traditional craft, and the "hon-kataji Wajima-nuri," which gains more luster with use, is a lifelong treasure. Its ability to be repaired and restored ("lacquer repair") is also a significant feature.
Although the price range is higher, it is a lacquerware worth purchasing as a "lifelong vessel."
Aizu-nuri (Fukushima Prefecture): Durable Lacquerware Nurtured in Tohoku
The lacquerware of the Aizu region in Fukushima Prefecture is believed to have originated when Gamō Ujisato encouraged its production for industrial development during the Sengoku period. Aizu-nuri developed as a production center for "everyday lacquerware," emphasizing practical robustness alongside the beauty of its lacquer.
Aizu-nuri is characterized by its unique "nagashi-nuri" (flow lacquering) technique and its distinctive Aizu-specific decorative painting designs. The vibrant Aizu-nuri, with its red background and gold painting, has been cherished since the Edo period. In recent years, modern Aizu-nuri designs by young artisans have also garnered attention.
Kyo-shikki (Kyoto): Elegant and Refined Lacquerware of the Capital
Lacquerware nurtured in Kyoto, the thousand-year capital, is known as "Kyo-shikki" and distinguishes itself from other regions with its elegance and delicacy. Developed from aristocratic culture since the Heian period and evolving with the rise of the tea ceremony, Kyo-shikki is characterized by highly decorative techniques such as maki-e and metalwork.
Many elegant patterns, such as phoenixes with paulownia and bamboo, pine, bamboo, plum, and seasonal flowers, are featured, and it is still widely used today for tea ceremony utensils and kaiseki (traditional multi-course) dishes. It is also one of the regions where products are easily accessible to tourists visiting Kyoto.
Yamanaka-shikki (Ishikawa Prefecture): The Home of Woodturners
Also in Ishikawa Prefecture, Yamanaka-shikki, centered around Yamanaka Onsen, is known as the "home of woodturners." Its lathe turning technique for shaping wood is particularly excellent, and its skill in creating thin, light wood bases is said to be the best in Japan. It accounts for the majority of the national share in the production of wood bases for tea ceremony utensils.
In recent years, an increasing number of young artisans are producing lacquerware with modern designs while utilizing traditional woodturning techniques, expanding the appeal of new Yamanaka-shikki.
Echizen-shikki (Fukui Prefecture): A Production Region with 1500 Years of History
Echizen-shikki, centered in Sabae City, Fukui Prefecture, is said to have a history of over 1500 years and is one of the oldest lacquerware producing regions in Japan.
Echizen-shikki produces a wide range of products from everyday tableware to commercial tableware, and its high practicality, emphasizing "ease of use," is a characteristic. It boasts one of the largest production volumes among lacquerware producing regions and is widely used in restaurants, ryokans (traditional Japanese inns), and hotels nationwide.
Types and Uses of Lacquerware
There are various types of lacquerware, and they are used in ways deeply rooted in Japanese food culture.
Owan (bowls) / Shiru-wan (soup bowls): These are the most common forms of lacquerware. They are ideal for serving hot liquids like miso soup, clear soups, and zōni (rice cake soup), and their high insulation keeps them from getting hot to the touch.
Jūbako (tiered boxes): Essential for New Year's Osechi cuisine and picnic lunches. Stacked in two, three, or five tiers, they adorn the festive table. Jūbako decorated with gold maki-e on vermilion or black lacquer evoke a celebratory mood just by looking at them.
Bon (trays): Lacquerware trays for carrying dishes serve a practical role in dining and tea ceremonies. The "ocha-bon" (tea tray) used to serve tea to guests is also a classic example of lacquerware.
Hashi (chopsticks): Lacquer-coated chopsticks combine lightness with a non-slip grip. Applying lacquer to wooden chopsticks enhances their durability, making them an essential eating utensil for formal occasions.
Nimono-wan / Futatsuki-wan (lidded bowls): Lidded bowls frequently used in tea ceremonies and kaiseki cuisine, for serving steamed dishes or stewed dishes. The aroma and steam that escape when the lid is opened, along with the luster of the lacquer, truly stand out.
Lacquerware Care: Proper Handling
Even the finest lacquerware will deteriorate if not properly cared for. To ensure your lacquerware lasts a long time, please note the following:
No Dishwasher or Microwave
Avoid using dishwashers and microwaves for lacquerware. The high temperature and high-pressure water jets of a dishwasher can damage the lacquer, causing it to cloud or peel. Similarly, rapid temperature changes in a microwave can cause cracks in the lacquer film. Also, avoid prolonged exposure to direct sunlight. Ultraviolet rays can degrade the lacquer, causing it to lose its luster.
When washing, use a neutral detergent diluted in lukewarm water and gently wash with a soft sponge. Metal scrubbers or hard sponges will scratch the surface. After washing, immediately wipe off moisture with a soft cloth or towel and allow it to air dry.
Storage Methods to Prolong the Life of Lacquerware
When storing lacquerware, it is ideal to avoid dry places and instead keep it in a place where moderate humidity is maintained. However, too much humidity can also cause mold.
If stacking, place a cloth or Japanese paper between the pieces to prevent them from directly touching. This will prevent scratches and scuffs. When storing in drawers or shelves, choose a stable environment with no sudden temperature changes.
Newly purchased lacquerware may transfer color initially. For the first few uses, avoid acidic dishes or darkly colored foods, and allow the lacquer to settle in before using them.
It is often said that "lacquerware deteriorates if not used." Rather than displaying it on a shelf, regular use helps the lacquer "live" and maintain its beauty. Even if it gets scratched or the lacquer peels, it can be "re-lacquered" by artisans or specialists in the production region. This is one of the great strengths of lacquerware.
Incorporating Lacquerware into Modern Dining
Some people may have the impression that lacquerware is for formal, special occasions, but incorporating it into everyday dining can actually enhance the quality of life.
Just having your morning miso soup in a lacquer bowl makes mealtime a little more special. Because it is not easily heated, the table will not be damaged even if you place the bowl on it, and children and the elderly can use it with peace of mind.
It also pairs surprisingly well with Western cuisine. Arranging bread and salad on a vermilion lacquer tray, or placing cutlery in a black lacquer chopstick holder, subtly incorporates a Japanese aesthetic, adding depth and warmth to the dining table.
Lacquerware also makes a delightful gift. As a gift for life's milestones such as weddings, new homes, 60th birthdays, or Respect for the Aged Day, giving a "vessel for life" conveys deep respect and thoughtfulness to the recipient.
For those looking for unique lacquerware by artisans, we recommend choosing a piece from a lacquerware specialty gallery or an online platform like Nokaze, where you can learn about the background of the region and artist. Choosing with an understanding of the vessel's story will deepen your attachment to it.
Frequently Asked Questions about Japanese Lacquer and Woodcraft
Q1. Why can lacquerware be used for hundreds of years?
The reason lies in the chemical properties of "urushi," a natural lacquer, and the meticulous handiwork of artisans. When the main component of urushi, "urushiol," combines with oxygen in the air to harden, it forms a strong polymer structure, even stronger than plastic. This provides extremely high water resistance, antibacterial properties, heat resistance, and acid/alkali resistance. Even if damaged, it can be "re-lacquered" by artisans, allowing it to be used for generations.
Q2. What are the precautions for caring for lacquerware when washing and storing it?
Absolutely avoid using microwave ovens and dishwashers. High temperatures and rapid temperature changes can cause cracks and peeling. When washing, use a neutral detergent diluted in lukewarm water and gently wash with a soft sponge, then immediately wipe off moisture with a cloth. Avoiding dryness and direct sunlight, and using it regularly, are the best ways to maintain its condition.
Q3. What are the characteristics of representative lacquerware production regions in Japan?
Each region has its unique strengths:
・Wajima-nuri (Ishikawa Prefecture): Robust, top-tier lacquerware in Japan, made by mixing local diatomaceous earth into the undercoat.
・Aizu-nuri (Fukushima Prefecture): Beautiful yet practical daily lacquerware with vibrant designs.
・Kyo-shikki (Kyoto): Characterized by elegant maki-e and other decorations, nurtured by aristocratic and tea ceremony culture.
・Yamanaka-shikki (Ishikawa Prefecture): Outstanding wood turning techniques, praised as the best in Japan for its wood bases.
・Echizen-shikki (Fukui Prefecture): With over 1500 years of history, highly practical and favored by hotels and restaurants nationwide.
Q4. What is the difference between "Maki-e" and "Raden" mentioned in the article?
Both are top-tier decorative techniques (kashoku) for lacquerware, but they use different materials. Maki-e expresses patterns by drawing with lacquer and sprinkling gold or silver powder onto it. Raden, on the other hand, is a technique that creates beautiful iridescent effects by thinly shaving seashells like abalone or turban shells and attaching them to the lacquer surface.
Unique Lacquerware Born from Nature's Bounty for Your Dining Table
Urushi ware is a craft that Japan proudly offers to the world, born from the blessings of nature, "urushi," and the countless manual labor of artisans. The chemical strength of natural lacquer collected from the urushi tree, the intricate processes completed by wood shapers, lacquerers, and maki-e artists, and the unique beauty fostered by each region—Wajima, Aizu, Kyoto, Yamanaka, and Echizen—all condense into a single vessel.
The reason it can be used for hundreds of years is not just its durability. The culture of "using while repairing," where the luster increases with use and even scratches can be mended, makes urushi ware more than just a tool.
From a simple bowl of miso soup in daily life to special occasion Osechi cuisine, urushi ware quietly conveys Japan's aesthetic sense in all aspects of life. If you haven't used urushi ware before, why not pick one up this time? You will surely feel the craftsmanship accumulated over a long time in its weight and luster.
→ See Japanese artisan woodcrafts at Nokaze