Joboji lacquerware, which has been passed down in the Joboji area of Ninohe City, Iwate Prefecture, is known for its rarity and high quality among lacquer distributed in Japan.
The harvesting technique called lacquer harvesting and the process of lacquerware making are closely linked, supporting the beauty of traditional vessels.
However, without fully understanding the background, history, and points to focus on when appreciating lacquer, you may miss its value.
This article provides a detailed introduction to the origins and cultural significance of Joboji lacquerware.
Table of Contents
What is Joboji Lacquerware?
Joboji lacquerware is a representative of domestically produced lacquer centered in the Joboji area of Ninohe City, Iwate Prefecture, and has been an integral part of Japanese lacquer culture.
While most lacquer distributed in Japan is from China, Joboji has produced high-quality lacquer since ancient times and has been used in the construction and restoration of temples and shrines since the Heian period.
It is particularly highly valued as an indispensable material for the restoration of national treasures and important cultural properties, and is still heavily relied upon by the Imperial Household Agency and cultural property restoration institutions.
A major characteristic is that the careful harvesting by lacquer harvesting craftsmen and local lacquerware making are linked to form a production area.
Joboji lacquerware has a glossy yet subdued appearance, possesses a texture that becomes more familiar with use, and has earned high trust for both practical items and cultural property use.
The Relationship Between Lacquer Harvesting and Vessel Making in Iwate and Ninohe
The greatest characteristic of Joboji lacquerware is that “lacquer harvesting” and “vessel making” are closely linked within the production area.
In the area around Ninohe City, lacquer harvesting craftsmen harvest sap from lacquer trees over approximately five months from June to late October.
This work is done carefully so as not to damage the trees too much, and only about 200g (approximately one milk bottle) of lacquer can be harvested from one tree, making it extremely rare.
That lacquer is refined by local lacquer craftsmen and made into everyday vessels such as bowls and trays. Because everything from harvesting to product manufacturing is completed within the production area, highly pure lacquer called “ji-urushi” (local lacquer) can be secured.
Joboji lacquerware vessels are durable yet warm, and their luster deepens with years of use, being passed down through repeated repairs.
Because lacquer harvesting and vessel making are integrated, a unique cycle is created where the entire region protects and nurtures the tradition.
The Secret Behind the Moist, Clinging Luster
The “moist, clinging texture” felt when holding Joboji lacquerware vessels is a crystallization of the properties of lacquer itself and the craftsmen’s skills.
After application, lacquer hardens using oxygen and humidity, creating a unique luster on the surface.
Joboji lacquerware has high transparency, and by applying multiple coats, it develops a deep luster.
This luster is characterized not only by shine but also by a texture that softly conforms to the skin.
Furthermore, the luster increases with daily use, and a calm beauty emerges through aging.
Even if the surface is damaged, it can be recoated or re-polished, and can be used for decades.
The point that the vessel and the user become more familiar with continued use, increasing attachment, can be said to be the great value of Joboji lacquerware.
Confirming Authenticity Through Certification Seals, Inscriptions, and Artist Names
The standards for this are the certification label from the “Joboji Lacquerware Certification System,” the “Traditional Craft” certification seal, the “inscription” engraved on the bottom of the vessel, and the “artist name.”
The Joboji Lacquerware Certification System is the only lacquer certification system in Japan jointly created by Ninohe City and Iwate Prefecture, and lacquer liquid that has been certified through quality inspection by a third-party organization is affixed with a dedicated brand mark.
Additionally, Joboji lacquerware is designated as a national traditional craft, and products that meet five requirements are affixed with a “traditional certification seal” issued by the Association for the Promotion of Traditional Craft Industries.
Furthermore, Joboji lacquerware was registered in the Geographical Indication (GI) protection system in 2018, and differentiation from imported lacquer and lacquer from other domestic production areas is legally protected.
The craftsman’s inscription or signature is important information for knowing the artist’s style and production background, and by checking the attached instructions and certificates, repairs and consultations after purchase can be conducted smoothly.
In the current situation where more than 97% of lacquer distributed domestically is imported from China and other countries, confirming authenticity is essential for protecting the collection value and long-term use value of Joboji lacquerware.
History of Joboji Lacquerware
Joboji lacquerware has been supporting Japanese lacquer culture since the Heian period and boasts a history of over a thousand years.
During the Nara and Heian periods, it was used for temples and Buddhist implements, and the rich lacquer forests of Tohoku attracted attention as important national resources.
Since the modern era, it has been placed in a difficult situation due to decreased demand for domestic lacquer and the rise of cheap imported lacquer, but it has continued to exist as an indispensable presence in cultural property restoration and traditional craft sites, and activities aimed at restoring “ji-urushi” (local lacquer) are now progressing.
Origins and Ancient to Medieval Lacquer Use
The direct origin of Joboji lacquerware lies in Tendaiji Temple, which was opened in 728 (Jinki 5) during the Nara period by Gyoki under the imperial order of Emperor Shomu.
The utensils that the temple monks made themselves for daily meals are considered the beginning of Joboji lacquerware, and spread locally as simple and practical “Oyama Goki” (mountain utensils) with almost no decoration.
In the early Edo period, there is a record of “foil bowls” in the black seal document of Nanbu Shigenao, the lord of Morioka Domain, and it can be confirmed that lacquer harvesting and lacquer coating in this area had been established as an organized industry by the mid-17th century.
During the domain administration period, lacquer became a valuable product of Morioka Domain, and records show that approximately 47% of the entire domain’s production came from the Ninohe region, including Joboji.
Entering the medieval period, with the protection of Tendaiji Temple by the Nanbu clan, and as warfare and religious forces increased the construction and restoration of temples and shrines, demand for lacquer expanded further.
The regional characteristics blessed with rich lacquer forests supported the establishment of an industrial foundation that made lacquer harvesting a livelihood.
The Edo Period and Protection by the Nanbu Domain
Entering the Edo period, Joboji lacquerware came to receive strong protection as an important financial resource of the Nanbu Domain.
The domain established a “Lacquer Harvesting Magistrate” to manage lacquer forests and imposed controls prohibiting the removal of lacquer to other domains.
They also established a unique technique called “Nanbu no Yojo-kaki” (Nanbu’s nurturing harvest) that harvests sap over many years without killing the tree, achieving sustainable lacquer production.
Through this system, Joboji established its position as one of the nation’s leading lacquer production areas, with records showing that approximately 47% of the entire domain’s production came from the Ninohe region, including Joboji.
Lacquer production included not only sap but also lacquer wax made from lacquer seeds, which became important products supporting the domain’s finances.
Lacquer at that time was used not only for temple and shrine restoration but also for armor, furnishings, and tea ceremony utensils.
Particularly with the spread of tea ceremony culture, demand for high-quality lacquer increased, and Joboji lacquerware was valued as “lacquer that produces durable and beautiful finishes.”
Elegant “foil bowls” with gold leaf were also produced as offerings to the domain lord, testifying to the high level of skill.
Modern to Contemporary Succession and Re-evaluation
After the Meiji period, domestic lacquer temporarily decreased in demand in the flow of modernization. Particularly after the Showa period, large quantities of cheap Chinese lacquer were imported, and Joboji lacquerware production was driven into a critical situation.
However, because the quality of domestic lacquer is indispensable in cultural property restoration and traditional craft fields, Joboji lacquerware has been carefully preserved.
After the war, lacquer forest devastation also progressed, but in 1977 (Showa 52), subsidies for lacquer tree planting began in Joboji Town, and in 1987, lacquer tree planting by the Japan Cultural Property Lacquer Association and Iwate Prefecture Joboji Lacquer Production Association began in earnest.
Currently, with organizational activities such as the “Association for Protecting Japanese Lacquer Culture” and successor training programs through Ninohe City’s “Urushibito” system being established, the brand power of Joboji lacquerware is attracting attention again.
In December 2020, “Lacquer Harvesting Technique” was registered as a UNESCO Intangible Cultural Heritage, gaining global recognition.
Through efforts to connect tradition with modern demand, Joboji lacquerware is entering a new stage of development.
Production Process of Joboji Lacquerware
One reason Joboji lacquerware is highly valued is that the process from harvesting to coating is very careful, with consistent quality control.
Lacquer harvesting craftsmen harvest sap while facing nature, refine it to remove impurities, and adjust transparency and viscosity.
Furthermore, lacquer craftsmen repeat coating and polishing many times to create deep luster.
These processes, while appearing simple, are actually supported by advanced experience and senses, bringing differences in expression to each vessel and work.
Joboji lacquerware is truly a craft material completed through the fusion of nature’s blessings and craftsman techniques.
Lacquer Harvesting: Traditional Technique for Collecting Sap
Lacquer harvesting is the work of collecting sap from lacquer trees and is the first important process that affects the quality of Joboji lacquerware.
From mid-June when the rainy season begins until late October, over approximately five months, fine cuts are made in the tree trunk, and the oozing sap is collected drop by drop.
Joboji lacquerware uses a method called “koroshi-kaki” (killing harvest), and the amount that can be harvested from one tree is about 200g (approximately one milk bottle), creating the rarity of lacquer.
Harvesting requires delicate techniques, and by cycling around the same trees with 4-day intervals, maximum sap is harvested while maintaining the health of the trees.
After harvesting lacquer for one year, the trees that have fulfilled their role are cut down.
Raw lacquer that has been harvested is too viscous as is, so it is processed in the next refining process.
Because the experience and judgment of lacquer harvesting craftsmen create the foundation of high-quality lacquer, this work can be said to be the core of protecting the tradition of the production area.
Refining: Process of Adjusting Transparency and Viscosity
Harvested raw lacquer is refined to remove impurities and moisture and finished to a state suitable for use.
Refining is performed by repeating work called “Nayashi” (stirring to homogenize lacquer components) and “Kurome” (heating to evaporate moisture), with the purpose of adjusting transparency and viscosity.
Joboji lacquerware is particularly high in transparency and is characterized by not easily becoming uneven even when applied thinly.
Through refining, the tea-brown raw lacquer becomes translucent amber-colored “suki-urushi” (transparent lacquer), and by adding iron powder, deep “kuro-urushi” (black lacquer) is created.
In this process, it is divided into types such as “transparent lacquer,” “black lacquer,” and “vermillion lacquer” according to use, with transparent lacquer used for wiping lacquer and kijiro coating, black lacquer for top coating, and colored lacquer produced by mixing various pigments with transparent lacquer, being used appropriately for vessels and architectural restoration.
The skill of refining directly affects the beauty of the finish, so it is often handled by craftsmen with many years of experience.
Particularly, Joboji lacquerware is excellent in viscosity, transparency, and strength after hardening, and is evaluated as the highest-grade refined lacquer used for the restoration of national treasures and important cultural properties due to its high quality.
The refined lacquer completed here becomes the foundation for the subsequent coating process.
Coating and Finishing: Repeated Layering of Coats
Refined lacquer is repeatedly layered, polished, and finished by the hands of lacquer craftsmen.
First, in undercoat coating, cloth and base powder are used to strengthen the vessel while smoothing the surface.
Next, middle coating is layered, and by applying top coating, deep luster appears.
Because lacquer hardens in reaction to humidity and temperature, environmental management of coating and drying is extremely important.
Finally, by performing polishing and roiro finishing, a moist, clinging texture is completed.
Joboji lacquerware vessels are completed only after going through this long process, becoming craft items that combine durability and beauty.
Because the craftsman’s skill and sensibility are clearly expressed, subtle differences arise in each work, enhancing the value as a one-of-a-kind item.
Appreciation Points of Joboji Lacquerware
Joboji lacquerware is a rare craft material that is good to use and good to look at.
To deeply appreciate its charm, knowledge of the depth of luster, changes in texture, and confirming authenticity is essential.
There are three main points to focus on when appreciating.
First, the “luster and depth of layers” unique to lacquer. Next, the texture and changes in texture through aging.
And finally, the certainty of authenticity through certification seals and artist inscriptions.
By understanding these, you can enjoy Joboji lacquerware more richly not just as vessels, but as a material symbolizing Japanese culture.
Viewing Luster and “Layers”: Shine, Transparency, Depth
The first thing to pay attention to when appreciating Joboji lacquerware is the luster and depth of layers created by repeated coating.
By repeating coating and drying many times, transparent layers are stacked, showing subtly different expressions depending on the angle of light.
The transparent luster makes you feel not only the surface but also depth, possessing three-dimensional beauty beyond mere coating.
Also, the charm is that this luster settles with continued daily use, changing to a moist shine.
When appreciating, by observing light reflection and reflections, you can realize the high quality of lacquer and the precision of the craftsman’s coating technique.
Enjoying Touch, Texture, and Aging Changes
The charm of Joboji lacquerware appears not only in the luster of appearance but also in the texture when touched by hand.
Depending on the finish, there is a moist, clinging texture, and when rubbed with fingertips, you can feel a soft resistance.
Such touch is unique to high-quality lacquer and increases further with aging use.
Fine scratches occur with daily use, but even these create new expressions, deepening the flavor of the vessel.
The calm luster and color changes that appear after decades can only be enjoyed through long-term use, and for appreciators, they make you realize the value as a “craft item that marks time.”
Reading Authenticity from Certification Seals, Inscriptions, and Artist Names
What should not be forgotten when appreciating is the elements that confirm the authenticity of the work.
To confirm the authenticity of products using Joboji lacquerware, it is important to understand multiple certification systems.
First, regarding Joboji lacquerware itself, there is the “Joboji Lacquerware Certification System.”
This is the only lacquer certification system in Japan jointly created by Ninohe City and Iwate Prefecture, and lacquer liquid (araaji-urushi, raw lacquer) certified through quality inspection by a third-party organization has a certification label with a dedicated brand mark affixed to the barrel.
However, this certification applies only at the lacquer liquid stage, not to finished lacquerware.
Regarding finished Joboji lacquerware products, they are designated as national traditional crafts, and products that meet five requirements are affixed with a “traditional certification seal” issued by the Association for the Promotion of Traditional Craft Industries.
Additionally, in December 2018, “Joboji Lacquerware” was registered in the Geographical Indication (GI) protection system, and quality and production area are legally protected.
The inscription or signature engraved by the artist becomes a clue to knowing the artist’s style and skill.
Furthermore, attached instructions and production area certificates play an important role when requesting repairs or recoating.
In the current situation where more than 97% of lacquer distributed domestically is imported lacquer from China and other countries, confirming these certification systems and inscriptions is essential for protecting the value of works.
By having an eye to discern authenticity, the value as a collection will be further enhanced.
Storage, Maintenance, and Repair of Joboji Lacquerware
While Joboji lacquerware vessels are durable and long-lasting, improper handling can accelerate deterioration.
Particularly sensitive to humidity and direct sunlight, the way of washing and drying after daily use can change the lifespan.
Also, lacquerware is a craft item that can be repaired and recoated, and even if chipping or wear occurs, it can be regenerated by specialists.
For long-term use, three points are important: “appropriate daily care,” “proper storage environment,” and “use with repair in mind.”
By keeping these in mind, Joboji lacquerware vessels can be passed down through generations, becoming an existence with a long life like cultural properties.
Basics of Daily Management (Washing, Drying, Handling)
After daily use, it is ideal to gently wash with lukewarm water diluted with mild detergent, wipe away moisture with a soft cloth, and air dry naturally.
Sponges with abrasives and bleach are strictly prohibited as they damage the surface.
Also, use of microwaves and dishwashers should be avoided, as sudden temperature changes cause coating damage.
Prolonged soaking in water should also be avoided, and making it a habit to wash immediately after use provides peace of mind.
Even if fine scratches or cloudiness appear on the surface, this is the charm of aging, and can be enjoyed as “scenery” unique to lacquerware.
By keeping such daily management in mind, Joboji lacquerware vessels increase their luster as years pass, growing into beloved existences.
Storage Environment and Display Ingenuity
To maintain beauty over the long term, an appropriate storage environment is essential.
Because lacquerware deteriorates easily when there is too much or too little humidity, it is ideal to store in a place with stable temperature and humidity.
Particularly, direct sunlight should be avoided as it causes fading and cracking, and when storing, it is safe to place in paulownia boxes or dedicated storage boxes.
When displaying, it is also recommended to use indirect or natural light rather than strong lighting to enjoy the changes in color and luster.
Also, by storing accessories with certification seals and artist inscriptions together, they are useful for future value and proof during repairs.
By combining storage and display ingenuity, you can enjoy them in daily life while also protecting their value as assets.
Possibility of Repair and Regeneration
A major attraction of Joboji lacquerware vessels is that they can be regenerated through repair even if chipping or wear occurs.
For minor scratches, re-polishing or partial recoating is possible, and for chips or cracks, traditional repair techniques such as “kintsugi” (gold joinery) or “urushi-tsugi” (lacquer joinery) are used.
With kintsugi, cracks are decoratively finished using gold powder, rather adding new beauty.
Even when large-scale restoration is necessary, if you request specialist workshops or craftsmen, there are many cases where regeneration is possible, allowing you to continue using them with peace of mind after purchase.
Repaired vessels carry depth and storytelling that new items don’t have, so they also hold great value for collectors.
Not forgetting that Joboji lacquerware is “vessels to repair and nurture,” the best way to enjoy them is to have a long relationship with repair in mind.
Conclusion
Joboji lacquerware is the crystallization of Japan’s representative lacquer culture that has been passed down for over a thousand years based in Iwate and Ninohe.
Boasting quality indispensable for national treasure and cultural property restoration, a cycle is alive where everything from local lacquer harvesting to vessel making is integrated.
The moist, clinging luster and flavor of aging increase in charm with use and have been loved through generations.
Furthermore, through confirmation of authenticity by certification seals and artist inscriptions, and appropriate maintenance and repairs, they can be passed down for a long time.
Joboji lacquerware, which continues to develop with both traditional and modern utilization as two wheels, is truly a craft item that can be enjoyed in both practical and artistic aspects, and can be said to be a precious existence supporting the future of Japanese culture.
