Japanese lacquerware (shitsugei) is a uniquely Japanese traditional craft that uses natural urushi lacquer to beautifully finish vessels and decorative items. Its lustrous and profound shine, along with delicate decorative techniques, is also called “urushi art,” and it is globally recognized as a cultural treasure that combines both practical utility as everyday items and artistic value.
This article provides a comprehensive introduction to the history of Japanese lacquerware, its representative techniques, the characteristics of major production regions, and even experience spots where you can actually encounter the charm of lacquer. Please take your time to savor the depth and beauty of Japanese lacquerware, which Japan takes pride in, from the perspectives of travel and learning.
Table of Contents
What is Japanese Lacquerware? – The World of “Light and Depth” Woven by Urushi
Japanese lacquerware is a uniquely Japanese craft that applies “urushi,” a natural tree sap, to various substrates such as wood, metal, and fabric, creating luster and depth. After applying thick layers of lacquer film that prevent moisture to wooden bases along with fabric and metal, polishing and decoration are applied in a multi-layered structure. Through the delicate balance of light and shadow, luster and texture, it expresses a world of “light and depth.” Below, we will explain in detail its materials, techniques, and applications.
The Mechanism of Natural Resin Coating Born from Lacquer Tree Sap
Urushi is a natural resin obtained by collecting and refining sap from the Japanese lacquer tree (Toxicodendron vernicifluum). Trees that are at least 10 years old are used for collection, and only about 200g can be obtained from one tree per year, making it an extremely precious material. The refined urushi contains urushiol, moisture, laccase enzymes, and other components. Its hardening is achieved through chemical reactions involving humidity and enzymes, not just drying, resulting in a film that is durable long-term and excellent in waterproofing and antibacterial properties. This naturally-derived coating has continued to be valued as artistry with practical utility for household items.
The Difference Between Plain Lacquerware and Maki-e – The Dual Nature of Decoration and Durability in Japanese Lacquerware
Japanese lacquerware has two main pillars: durability as plain lacquerware and decorativeness as maki-e. In plain lacquerware, lacquer is layered on wood, bamboo, metal, and other materials, repeating the process of thick film application and polishing to create surfaces with smooth luster and robust durability. On the other hand, maki-e involves “sprinkling” gold or silver powder on applied lacquer to add decorativeness, with techniques like hira-maki-e (flat maki-e), togidashi-maki-e (polished-out maki-e), and taka-maki-e (raised maki-e) varying the luster and three-dimensional expression. In other words, the value of Japanese lacquerware lies in the coexistence of durable coating and delicate beauty, representing an expression that simultaneously possesses the “beauty of utility” and “visual beauty” that Japanese people have valued since ancient times.
Flexible Adaptability to Multiple Materials – Wood, Fabric, Metal…
Japanese lacquerware can be processed to suit various materials by utilizing the characteristics of lacquer film. Applications include wooden bases (wood substrate), bamboo, paper (paper substrate), fabric (dry lacquer and fabric application), and even metal (metal substrate) and leather. For example, the technique of applying hemp fabric to wooden bases for reinforcement (urushi fabric overlay) balances durability and decorativeness, and applying lacquer to metal materials can ensure water resistance while adding variation to texture.
This allows Japanese lacquerware to achieve infinite expression by changing materials through the lacquer technique, from everyday vessels like bowls and lunch boxes to folding screens and metal decorative items, which can be said to be the strength of Japanese lacquerware.
What is the History of Japanese Lacquerware Spanning Approximately 9,000 Years?
Japanese lacquerware is not merely a coating technique, but an art deeply rooted in Japan’s natural environment and spiritual culture. Its origins trace back to the Jomon period, and it has developed across diverse fields including religion, tea ceremony, and international art throughout different eras.
During this long history, how has lacquer been connected to people’s lives and aesthetic sensibilities? Here, we introduce the trajectory from the birth of Japanese lacquerware to its evaluation on the international stage through representative historical topics.
From Jomon Red Lacquer to Shosoin’s Mother-of-Pearl Inlay
The oldest forms of Japanese lacquerware date back approximately 9,000 years to the Jomon period. Combs and wooden tools painted with red lacquer have been discovered at the Kakinoshima site in Hakodate, Hokkaido, showing that both the practical aspects of preservation and waterproofing, as well as the decorative aspects of coloration, were already being considered during this era.
This provides evidence of lacquer’s use in daily items with a history unparalleled anywhere in the world. During the Asuka to Nara periods, lacquer merged with Buddhist culture, and mother-of-pearl inlay and dry lacquer techniques preserved in the Shosoin developed.
These involved layering lacquer on wood and fabric and decorating with shells and metal powder, and were treasured by aristocrats and temples. The durability and luster of lacquer matched religious solemnity, radiating a presence that transcended the framework of crafts.
Sen no Rikyu’s Tea Ceremony and Lacquerware – The Aesthetics of Wabi-Suki and Black Lacquer
Sen no Rikyu was the person who elevated black lacquerware, stripped of decorativeness, to the starring role in tea ceremony during the lavishly decorative Momoyama culture of the Momoyama period. A representative example known as Rikyu’s preference is the black lacquer tea caddy (natsume) in shin-nuri (true lacquer) finish, known as the “Rikyu-style natsume.” The “Black Lacquer Medium Natsume” in the collection of Tokyo National Museum is a relic bearing Rikyu’s kao (stylized signature) on the inside of the lid, showing the scenery where black lacquer has aged to brown through years of handling, embodying “wabi that deepens through use.”
Similarly, the “Rikyu Black Town Natsume Named ‘Sairai'” at the Fujita Museum in Osaka also shows how black has changed to crimson color over hundreds of years, with this “aged color” being introduced as a highlight. Rikyu also used black shin-nuri and suri-urushi (rubbed lacquer) for bowls and trays, presenting an aesthetic of “tasting through touch and shadow rather than glossy shine.”
Such vessels responded to the darkness of tea rooms and the faint light of paper lanterns, innovatively incorporating lacquer’s luster, texture, and aging changes into objects of appreciation. Japanese lacquerware was elevated from mere decorative technique to art imbued with spirituality through Rikyu’s aesthetic vision, and is evaluated as having established the important concept of “beauty spoken by negative space” in Japanese art.
The Golden Maki-e of “JAPAN” That Amazed the World at the Paris Exposition
The Meiji government continued to officially exhibit at almost all World’s Fairs following the 1867 Paris Exposition for the purposes of export promotion and national prestige, showcasing lacquerware, metalwork, and cloisonné as the “JAPAN” brand. In lacquerware, maki-e artist Shibata Zeshin exhibited works such as “Lobster Design Gold Raised Maki-e” at the 1889 Paris Exposition and won a gold medal, with French newspapers reporting that “the golden patterns floating on black lacquer show unprecedented precision.”
In the cloisonné field, Kyoto’s Namikawa Yasuyuki exhibited his 1899 “Cloisonné Four Seasons Flowers and Birds Vase” at the 1900 Paris Exposition and won a gold medal. The Imperial Household Agency’s Museum of the Imperial Collections describes it as “transcendent technique that fascinated the world at the World’s Fair” in their official commentary.
These works were acclaimed as “exotic beauty” unique to Japan, with the Japanese decorative style of making gold and silver powder and metal wires resonate against the jet black of lacquer and the glazed colors of cloisonné being unprecedented in Western crafts. Following the award-winning coverage, maki-e boxes and cloisonné vases became popular as furnishings and jewelry cases among the upper classes in Europe and America, leading the Japonism boom of the late 19th century.
The high evaluation at World’s Fairs also spread domestically, serving as a turning point that promoted the social status improvement of lacquer artists and cloisonné artists and the revaluation of traditional techniques, as pointed out by multiple studies on expositions.
Six Representative Techniques in Japanese Lacquerware
Japanese lacquerware includes numerous unique techniques cultivated by Japan’s natural environment and aesthetic sensibilities. Among these, the six techniques considered most representative are “nuri” (lacquering), “maki-e” (sprinkled design), “raden” (mother-of-pearl inlay), “kanshitsu” (dry lacquer), “choshitsu” (carved lacquer), and “kinma” (incised gold lacquer). These are advanced craft techniques that not only apply decoration but also fuse material characteristics with sculptural beauty. Here, we will introduce in detail the characteristics, processes, and appeal of each technique.
Nuri (Lacquering)
“Nuri” is the fundamental technique in Japanese lacquerware, involving the process of applying lacquer to objects multiple times, repeating drying and polishing to achieve the finish. Among these, the “roiro finish” creates mirror-like deep luster by polishing with charcoal powder in the final process.
By using black lacquer, a luster that seems to absorb light appears, and the undecorated surface itself becomes established as beauty. On the other hand, “kijiro” uses transparent lacquer to create a unique amber-colored luster while utilizing the natural grain of the wood.
Both not only provide visual beauty but also excel in functionality such as moisture and decay prevention, and can be said to be foundational techniques that maximize the appeal of lacquer.
Maki-e (Sprinkled Design)
Maki-e is a uniquely Japanese advanced decorative technique that involves drawing patterns with lacquer and then sprinkling gold and silver powder for decoration. The basic form, “hira-maki-e,” involves drawing pictures with lacquer, sprinkling gold powder, and after drying, protecting with transparent lacquer and polishing out. It gives a delicate and gorgeous impression, so it is frequently used for incense containers and inkstone boxes.
“Taka-maki-e” involves building up lacquer or rust lacquer and then sprinkling powder to create three-dimensional finishes, enabling magnificent decoration. “Togidashi-maki-e” involves layering lacquer and then polishing out to smooth the surface of the gold powder, combining elegant luster with strength. In all cases, the method of sprinkling metal powder and the structure of layers greatly influence the impression of the work, showcasing the sensitivity and skill of maki-e artists.
Raden (Mother-of-Pearl Inlay)
Raden is a technique that involves thinly slicing the mother-of-pearl layer of abalone, turban shells, and other shells, and inlaying or affixing them to lacquer ground for decoration. Turban shells in particular emit fantastic iridescence of blue, green, purple, and other colors when polished, creating high visual effects when contrasted with the deep black of lacquer.
Craftsmen cut shell pieces finished to less than 0.1mm thickness and carefully attach them as fine patterns, then layer lacquer and polish out. Therefore, works possess both smooth texture and complex brilliance from light refraction. Raden was transmitted from Tang dynasty China and developed in Japan along with aristocratic culture during the Heian period, continuing to be inherited as a representative technique of high-end lacquerware to the present day.
Kanshitsu (Dry Lacquer)
Kanshitsu is a technique that involves layering hemp fabric with lacquer to form shapes, and has been frequently used especially for Buddhist statue production and sculptural expression. In the dry lacquer technique, first a form is made with clay or wood, and hemp fabric is applied on top with lacquer. After this layered fabric is dried and hardened, the internal mold is removed to complete a hollow structure, resulting in lightweight yet robust objects.
Representative examples created with this technique include the “Ashura Statue at Kofukuji Temple” and the “Eight Guardian Deities Standing Statues at Todaiji Temple” from the Nara period. In contemporary crafts, abstract works utilizing the free sculptural nature of dry lacquer have also appeared, with applications in sculpture and other fields. This can be said to be a technique that is both technically and artistically profound, pursuing the possibilities of lacquer as a material to the extreme in the realm of three-dimensional sculpture.
Choshitsu (Carved Lacquer)
Choshitsu is a technique that involves thickly applying lacquer more than 100 times to create lacquer layers, then carving out patterns with carving knives. In China it is called “tihong,” and it was transmitted to Japan during the Kamakura to Muromachi periods, achieving unique development through the Edo period.
Since red lacquer is frequently used, it is also called “tsuishu,” and its appeal lies in heavy, three-dimensional decoration. By utilizing the depth and angle of carving and the layered colors of the lacquer, patterns can be given shadow and depth.
In modern times, Kagawa Prefecture lacquer artist Otomaru Kodo was designated as a holder of Important Intangible Cultural Property (Living National Treasure) for this technique, and his skills continue to be inherited by many artists today. This is an extremely labor-intensive and skillful technique established through the fusion of accumulation and carving.
Kinma (Incised Gold Lacquer)
Kinma is an inlay technique that involves carving patterns on lacquer surfaces and filling the grooves with colored lacquer for decoration, and has achieved unique development in Takamatsu City, Kagawa Prefecture. Originally a technique transmitted from Southeast Asia, it was introduced to Japan at the end of the Edo period and refined by Isoi Nyoshin from the Meiji era onward.
The characteristic of kinma is using a specialized tool called “kinma-ken” to carve patterns in lines and dots, then flowing colored lacquer in red, yellow, green, blue, and other colors to achieve jewel-like decorativeness. Furthermore, by polishing out the surface, a smooth and lustrous finish is achieved.
Even in modern times, it continues to be inherited and evolved by artists such as Isoi Masami and Sato Mitsuo, receiving high international evaluation. This is one of Japan’s world-renowned decorative techniques that fuses color sensibility with technical skill.
Japan’s “Urushi” is Also Drawing Attention from a Sustainability Perspective
Urushi is a natural material with excellent sustainability, obtained from natural tree sap. In recent years, with the growing environmental consciousness, the sustainability perspective has also become important in Japan’s lacquerware culture.
The reproduction of domestic urushi, the revaluation of kintsugi (golden repair) as a repair technique for damaged vessels, and functionality as bio-derived paint all hold many possibilities for contributing to a circular society. Below, we will introduce in detail urushi’s initiatives aimed at balancing environment and culture.
Domestic Urushi Self-Sufficiency Project and Sap Collection Ethics
In Japan, the self-sufficiency rate of domestic urushi is said to be less than 5% of demand, with the current situation being primarily dependent on Chinese imports. To overcome this, “Domestic Urushi Promotion Projects” by the Agency for Cultural Affairs, local governments, and craftsmen’s organizations are underway.
In Joboji Town, Iwate Prefecture, a system has been established that consistently handles everything from traditional urushi-tapping technique inheritance and urushi forest cultivation to collection and product manufacturing. Also, sap collection requires sustainable collection methods and respect for trees, as expressed in the saying “urushi-tapping takes ten years, trees take three years.”
Since excessive tapping can cause trees to die, efforts to protect urushi forests are being promoted in combination with forestry methods such as rotation cutting and thinning.
Upcycling: Reviving Chipped Lacquerware with Kintsugi
“Kintsugi” is a repair technique that bonds cracked or chipped vessels with lacquer and finishes them with gold or silver powder decoration. It is a symbol of upcycling culture that has been passed down in Japan since ancient times. This way of thinking, which regards vessel damage as “beauty” and finds value in damage itself, deeply resonates with modern sustainability philosophy.
In recent years, kintsugi has been attracting renewed attention domestically and internationally from an SDGs perspective, and demand for repairable lacquerware is also increasing. Beginner-friendly kintsugi kits and workshops are also increasing, and the experience of consumers themselves working to revive vessels serves as an opportunity to increase attachment to objects and environmental awareness. Kintsugi can be said to be not just a repair technique, but a cultural practice that realizes circular consumption.
The Potential of Urushi as Bio-Derived Paint
Urushi is a naturally-derived high-performance resin that has been attracting attention in recent years as a paint that does not depend on petrochemical products. When dried and hardened, it possesses extremely high water resistance, acid resistance, and corrosion resistance, sometimes having performance superior to synthetic paints in practical applications.
Also, urushi does not emit harmful substances during manufacturing and disposal processes, and its environmental impact is extremely low. It has begun to be used as finishing material for building materials, furniture, and interiors, and in recent years, attempts to utilize urushi in the context of SDGs and carbon neutrality have been increasing. Furthermore, research focusing on urushi’s antibacterial and antiviral properties is also progressing, and its potential as a naturally-derived functional paint is greatly expanding.
Conclusion
Japanese lacquerware is a traditional technique nurtured by Japan’s natural environment and aesthetic sensibilities, yet it continues to expand its value and possibilities even in modern times. Techniques such as lacquering, maki-e, and mother-of-pearl inlay combine craft perfection with aesthetic appeal and can be said to be crystallizations of craftsmen’s advanced skills. Furthermore, techniques such as dry lacquer, carved lacquer, and kinma expand the range of expression in sculpture and color, showing Japan’s unique artistic culture to the world.
Also, urushi is a sustainable natural material, and attention is gathering on its aspects as a resource that coexists with the environment, including domestic urushi promotion, upcycling through kintsugi, and applications as bio-paint. Japanese lacquerware is not a relic of the past, but wisdom and technique that should be inherited into the future. As an existence that balances cultural inheritance with natural environment preservation, its importance is expected to increase further in the future.
