“Cinnabar lacquer” is a decorative technique that creates a heavy, three-dimensional presence by repeatedly applying layers of lacquer and carving into them.
Characterized by deep vermilion color and intricate patterns, it was transmitted from China and has also developed over a long history in Japan.
Its distinctive presence is highly valued as an art craft and is widely used for tea ceremony utensils and decorative items.
However, to properly understand the charm of cinnabar lacquer, it is essential to know the historical background, production process, and points to focus on during appreciation. This article introduces these in detail.
Table of Contents
What is Cinnabar Lacquer?
Cinnabar lacquer is one of the carved lacquer techniques that originated in China and also developed in Japan.
It is characterized by repeatedly applying layers of lacquer and carving into that thickness to make patterns emerge.
It is an advanced technique that treats lacquer itself as a material rather than just the beauty of coating, and requires particularly much time and effort even among lacquer crafts.
Patterns carved into the surface create three-dimensionality through the color and thickness of lacquer layers, giving a heavy and magnificent impression.
In Japan, it developed as “tsuishu (vermilion),” “tsuikoku (black),” and “choshitsu (multicolor),” and has been widely used for tea ceremony utensils, boxes, Buddhist implements, and more.
Here, we will explain the reasons for layering lacquer and thickness standards, differences due to base types, and color variations.
Reasons for Layering Lacquer Dozens of Times and Thickness Standards
The greatest characteristic of cinnabar lacquer is applying layers of lacquer dozens of times to create thickness.
While ordinary lacquer coating uses several to a dozen or so layers, in the case of cinnabar lacquer, over 100 layers are sometimes layered, with thickness reaching from several millimeters to nearly 1 centimeter.
The reason for layering this extensively is to secure the strength and depth that can withstand subsequent carving work.
Without sufficient thickness, the base would be exposed when carving patterns, damaging the aesthetic appearance of the finish. Also, the thicker the layers, the more three-dimensionality the patterns gain, and light and shadow are richly expressed.
The process of repeating coating and drying takes from several months to several years, and the great charm of cinnabar lacquer is being created over a long period until completion, which is also the reason that increases its rarity.
How Touch Changes with Base Differences (Wood Base, Dry Lacquer Base, Metal Base)
There are three types of bases (core materials) used for cinnabar lacquer: wood base, dry lacquer base, and metal base.
Wood Base
Wood base is a method of repeatedly applying layers of lacquer on wood such as magnolia or Japanese horse chestnut, characterized by lightweight and warm touch.
Dry Lacquer Base
Dry lacquer base is a technique of creating an original form with wood or clay, layering hemp cloth with lacquer to form, then removing the original form to make it hollow. It enables lightweight and more free modeling, and the surface also becomes uniform and smooth. It is divided into two types: dakkatsukansitsu (hollow dry lacquer) and mokushin kanshitsu (wood-core dry lacquer), with the former using a clay original form and the latter using a wood original form.
Metal Base
On the other hand, metal base uses metals such as copper, silver, or brass as core material, excelling in weight and robustness, with a cool touch. In Chinese cinnabar lacquer, copper base is often used, and due to its weightiness and durability, it is suitable for long-term use.
Each base greatly affects the texture and weight of the finish and is chosen according to purpose and aesthetic effect.
Craftsmen understand the characteristics of each base and use appropriate materials according to the design they want to express and the purpose of use.
Murakami wood-carved cinnabar lacquer in Japan mainly uses wood base and has a unique charm that changes to deep luster the more it is used.
By knowing the differences in bases, you can more deeply appreciate the diverse expressions of cinnabar lacquer.
Color Variations: Characteristics of Tsuishu, Tsuikoku, and Multicolor Carved Lacquer
As the name suggests, cinnabar lacquer is typically made by layering vermilion lacquer, but there is also “tsuikoku” using black lacquer, and “multicolor carved lacquer (choshitsu)” with multiple colors in layers.
Tsuishu is characterized by vivid and powerful vermilion color, possessing magnificence and formality.
Tsuikoku has carved patterns emerging in calm jet-black, creating a sense of heavy and tranquil beauty. In contrast to the magnificence of tsuishu, it is characterized by calm color tones favored by connoisseurs.
On the other hand, in multicolor carved lacquer, vermilion, black, green, yellow, etc. are layered for each layer, and because colors switch depending on the depth of carving, complex and rich expressions are possible.
Particularly the “red flower green leaf” technique of carving flowers in vermilion and leaves in green is prized as representative multicolor carved lacquer.
In China, carved lacquer was actively made from the 10th century during the Song dynasty onward, and was imported to Japan as “Chinese lacquerware” during the Muromachi period.
Influenced by these Chinese carved lacquers, Japan achieved unique development starting with Kamakura-bori. In Murakami wood-carved cinnabar lacquer, a unique technique called “sansai-bori” (three-color carving) was also born, layering vermilion, yellow, green, and black in order.
Because the choice and combination of colors affect the impression of the work, it can be said to be the part where the craftsman’s aesthetic sense most appears.
Each family has subtle differences in vermilion color, which can become that family’s signature color.
History and Development of Cinnabar Lacquer in Various Regions
Cinnabar lacquer is a technique born in China, transmitted to Japan, and achieved unique development.
The idea of repeatedly layering lacquer and carving was born along with the advancement of lacquer craft.
In China, gorgeous and brilliant designs were pursued under court culture, while in Japan, it melted into tea ceremony culture, expressing more delicate and tranquil aesthetic sense.
While the direction of purpose and design differs by region, the idea of “carving” lacquer is common, expanding the diversity of lacquer art. Here, we will look at the origins and development in China, and reception and transformation in Japan.
Origins and Development in China
The origins of cinnabar lacquer are said to date back to the Tang dynasty (7th-9th centuries), but the oldest existing works are from the Song period, and full-scale development began from the Song dynasty.
In China, it is collectively called “choshitsu (carved lacquer)” or “tekiko (carved red),” and tsuishu, tsuikoku, and multicolor carved lacquer were made.
In the Song dynasty, tekiko and tekisai were born, and in the Yuan dynasty, master craftsmen such as “Zhang Cheng” and “Yang Mao” appeared, and the custom of craftsmen carving their own names at the bottom of works was born.
In the Ming dynasty, the “Guoyuan Chang” (fruit garden factory) dedicated to making lacquerware supervised by the imperial palace was established, and excellent craftsmen from all over the country were gathered in Beijing.
Ming dynasty cinnabar lacquer was characterized by many dark colors and patterns with thick lines, but gorgeous works with deeply carved flower and bird and auspicious patterns were actively created and prized in the court and by the wealthy class.
The thickness of lacquer layers was generally about 3 millimeters with 100 applications, and patterns applied with carving knives combine forcefulness and precision.
In the Qing dynasty, colors became brighter and patterns came to be drawn with finer lines, further increasing decorativeness and being applied to folding screens and large furniture as well.
Particularly during the Qianlong Emperor’s era, more complex and luxurious works were delivered to the palace, and cinnabar lacquer became a symbolic existence of Chinese lacquer art. Cinnabar lacquer in China is still valued as a cultural heritage demonstrating high technical skill and artistic completion.
Transmission to Japan and Reception
In Japan, from the Kamakura period onward, cinnabar lacquer works that came from China were transmitted along with Zen Buddhism and stored as Buddhist implements and treasures in temples.
In the Muromachi period, Ming dynasty cinnabar lacquer was actively imported as “Chinese objects” and highly valued among tea masters and warrior families.
Particularly with the spread of tea ceremony, the heavy texture of cinnabar lacquer was considered suitable for tea ceremony utensils and used for tea caddies, trays, incense containers, etc.
Kamakura-bori was also born under this influence and became widely popular as tea ceremony utensils from around the end of the Muromachi period.
In the Edo period, uniquely Japanese “Murakami wood-carved cinnabar lacquer” developed in the Murakami region, and a unique technique of applying lacquer after carving into the wood base in advance was established, rather than the Chinese method of thickly layering lacquer.
This was started by samurai in the mid-Edo period and spread to townspeople with the encouragement of domain lords.
In Japan, there was a tendency to choose designs that connect to calmness and wabi-sabi rather than gorgeous patterns, adapting to the aesthetics of tea ceremony culture.
Cinnabar lacquer increases transparent luster the more it is used, and the characteristic of increasing depth with the passage of time also matches the spirit of wabi-sabi. Thus, cinnabar lacquer changed its expression from Chinese magnificence to Japanese tranquility, reflecting different values in both countries.
Evaluation and Succession Since Modern Times
Since modern times, cinnabar lacquer has received international evaluation as an art craft.
Through 19th-century world expositions, Japanese lacquerware was enthusiastically accepted in the West as part of “Japonisme,” and lacquer crafts including cinnabar lacquer also gained popularity as high-class crafts called “Japan.”
In Japan, lacquer art was promoted as an export industry through the government’s encouragement of new industry policy in the Meiji period, and cinnabar lacquer was also produced as part of this, but gradually decreased in number because it requires enormous time and cost.
On the other hand, domestically, a protection system was established as “traditional crafts,” and Murakami wood-carved cinnabar lacquer was designated as a Niigata Prefecture cultural property in 1955 and a national traditional craft in 1976.
In modern times, it is protected nationally in China as one of Beijing’s four major crafts and registered as “intangible cultural heritage.”
In Japan, the Tsuishu Yoshinari school has inherited techniques over 21 generations from the Nanbokucho period to the present, continuing activities in cultural property restoration and high-class craft fields.
Training and certification of technicians are conducted through the traditional craftsman system, positioned as a rare qualification at 7% of approximately 4,000 active traditional craftsmen.
While cinnabar lacquer is disadvantaged in terms of production efficiency, due to its weightiness and unique presence, it continues to hold special value for collectors and art enthusiasts even today.
Particularly with the growth of the Chinese economy, price increases of tsuishu and tsuikoku continue in the antique art market, with growing interest in highly rare works.
Production Process of Cinnabar Lacquer
The charm of cinnabar lacquer lies in the meticulous process of repeatedly applying layers of lacquer and carving out patterns utilizing that thickness.
While ordinary lacquerware production finishes with about a dozen layers, cinnabar lacquer layers from dozens to over a hundred layers, sometimes taking several years until completion.
The process of applying lacquer, drying, and polishing is repeated endlessly, and only after securing sufficient thickness does carving finally begin.
Because lacquer itself is treated as a material, the characteristic is that both lacquer craftsmen and carvers are required to have advanced techniques and patience. Here, we will explain the flow of cinnabar lacquer production divided into three stages: layering, drying, and carving.
Layering: First Stage of Building Thickness
The starting point of cinnabar lacquer production is the work of layering lacquer many times to build up layers.
First, raw lacquer mixed with red oxide is applied to the base (wood base, dry lacquer base, metal base) as “wood hardening,” soaking lacquer throughout the wood to create a robust foundation. After that, full-scale layering begins.
If painted thickly at once, drying becomes insufficient and shrinkage appears on the surface, causing peeling, so thin painting about the thickness of one hair is always mandatory, with drying over several days being basic.
In Chinese cinnabar lacquer, vermilion lacquer is layered 300-500 times, forming about 3 millimeters of thickness with 100 applications.
In Murakami wood-carved cinnabar lacquer, because carving is applied to the wood in advance before applying lacquer, it is applied by tapping with fingertips (finger pads) or tampons so as not to fill the carved parts, then adjusted with a brush.
Neither too thick nor too thin, it is patiently continued while paying meticulous attention to fingertips.
Because the thickness of lacquer determines the depth of subsequent carving and three-dimensionality of patterns, lacquer craftsmen patiently continue work while assuming the final image.
The accuracy of this process can be said to be the most important foundation that affects the completeness of cinnabar lacquer.
Drying: Robustness Created by Time and Environment
To reliably fix layered lacquer, an appropriate drying process is indispensable. Lacquer drying differs from the general concept of “drying,” hardening through a chemical reaction of taking in moisture from the air and oxidative polymerization.
Therefore, it is dried while maintaining constant conditions in a dedicated drying room called “urushi-furo” (lacquer bath) or “urushi-muro” (lacquer chamber) adjusted to temperature 20-25°C and humidity 70-80%.
If drying is insufficient, only the surface hardens with moisture remaining inside, later becoming the cause of cracking or peeling.
Particularly if placed in a high-humidity environment rapidly, only the surface hardens causing “shrinkage (wrinkles, shibo)” or not drying to the core, so after painting, it is exposed to air at normal room temperature for about 4 hours before placing in the lacquer bath. Each layer requires sufficient time (basically half a day to a day) to dry uniformly.
Because lacquer is a natural material, drying takes time, and adjustments according to season and production area climate are necessary.
The rainy season has the fastest drying, while winter dries easily and temperature is also low, so temperature and humidity need to be adjusted using heating and humidifiers. Complete drying takes over half a year from surface hardening, and through this accumulation, lacquer layers increase in robustness and gain strength that can withstand carving.
The drying process is an invisible part, but the way lacquer color appears also changes depending on drying time, playing a key role supporting the final appearance and durability of cinnabar lacquer.
Carving: Finishing That Breathes Life into Lacquer Layers
When lacquer layers with sufficient thickness and robustness are completed, the carving process by carvers finally begins.
The work of shaving out lacquer layers using carving knives and making patterns emerge is the greatest highlight of cinnabar lacquer.
Light and shadow are born depending on the depth and angle of carving, and the color and luster of lacquer layers are expressed three-dimensionally.
Particularly in the case of multicolor carved lacquer, because different colors appear for each layer, complex and rich patterns are drawn out while adjusting the depth of carving.
It is important that carving lines are smooth and uniform and harmonize with the overall composition, with each stroke requiring high concentration.
This process of transforming from “applying” lacquer to “carving” is the moment that elevates cinnabar lacquer to a unique craft.
Appreciation Points and Contemporary Value of Cinnabar Lacquer
The charm of cinnabar lacquer is the three-dimensional patterns and heavy presence born from repeatedly applying layers of lacquer and carving.
In appreciation, it is important to discern the depth of carving, smoothness of lines, and richness of light and shadow due to lacquer layer thickness.
Furthermore, in scenes where it is used as tea ceremony utensils and furnishings, the point where practicality and aesthetics harmonize is also evaluated.
In modern times, besides museum exhibitions, it is attracting attention again among tea masters and craft collectors, with value increasing in cultural property restoration and art markets. Here, we will approach cinnabar lacquer from three perspectives: museum appreciation, utilization as tea ceremony utensils, and collection value.
Perspectives for Appreciating Cinnabar Lacquer in Museums
When viewing cinnabar lacquer in museums, first paying attention to its thickness and precision of carving makes its charm stand out.
Lacquer layers receiving light create complex light and shadow through carving, allowing enjoyment of three-dimensional sculptural beauty rather than mere decoration.
Also, when comparing Chinese and Japanese cinnabar lacquer works, large differences can be seen in the atmosphere of designs and carving.
Chinese works often feature gorgeous and brilliant flower and bird patterns and auspicious patterns, while Japanese works prominently feature calm designs matched to tea ceremony culture.
In exhibitions, by paying attention not only to the surface of works but also to the treatment of sides and backs, the high level of production technique can be understood more deeply.
Museum appreciation can be said to be an excellent opportunity to experience the “beauty completed through layering time and effort” that cinnabar lacquer possesses.
Cinnabar Lacquer as Tea Ceremony Utensils
In Japan, cinnabar lacquer has received particularly high evaluation as tea ceremony utensils.
When cinnabar lacquer is applied to utensils such as tea caddies, incense containers, and trays, red or black carvings stand out in jet-black tea room spaces, radiating powerful presence within tranquility.
Tea masters have found beauty in the weightiness of cinnabar lacquer and the light and shadow of carvings, deepening the spirit of wabi-sabi through utensils.
Also, because cinnabar lacquer has thick lacquer layers, it is robust and can be used over a long period in practical terms, making it suitable for tea ceremony utensils.
The more it is used, the more the luster of lacquer increases, and gaining dignity with time is also a charm unique to cinnabar lacquer.
Even in modern times, cinnabar lacquer utensils are valued at tea ceremonies, maintaining their value as crafts that continue to live within traditional culture.
Collection and Contemporary Value
Cinnabar lacquer, due to its rarity and advanced techniques, receives high evaluation as a collector’s item even in modern times.
Because production requires enormous time and effort, the number of existing works is limited, and particularly old works in good condition and works by master craftsmen are traded at high prices in the art market.
Additionally, cinnabar lacquer techniques are indispensable in cultural property restoration, and the succession of craftsman techniques is also emphasized from the perspective of cultural protection.
In recent years, fusion with art works and contemporary design is advancing, and the beauty of cinnabar lacquer is also being applied in jewelry and interior fields.
Such expansion elevates cinnabar lacquer from mere traditional craft to “art living in modern times,” indicating that value will continue to increase in the future.
Conclusion
Cinnabar lacquer is a particularly advanced technique even among lacquer arts, born from repeatedly applying layers of lacquer and carving.
In China as a symbol of gorgeous court culture, and in Japan as a tool expressing tranquil beauty connected with tea ceremony, it has achieved unique development in each country.
Production requires enormous time and skilled techniques, and its weightiness and three-dimensional patterns radiate a presence unlike any other craft.
In modern times, it is applied not only to museum exhibitions and tea ceremony utensils but also to collection and contemporary design fields, with value increasing further.
Appreciating and owning cinnabar lacquer can be said to be an experience of handling the layered time that lacquer art has cultivated.
