# What is Kijiro-lacquer? A Complete Guide to History, Techniques, Finishes, and Major Production Centers
“Kijiro-lacquer (Kijiro-Urushi)” is one of Japan’s traditional lacquerware techniques that brings out the transparency and luster of lacquer while preserving the natural wood grain beneath.
Its defining characteristic is the repeated application of transparent lacquer (suki-urushi) to showcase the beauty of the wood grain, resulting in highly valued lacquerware that conveys the harmony and warmth of natural materials.
With a history dating back to the Edo period, Kijiro-lacquer has evolved uniquely in various regions, including Kawatsura in Akita Prefecture and Wajima in Ishikawa Prefecture.
This article provides a detailed explanation of Kijiro-lacquer’s history, technical structure, types of finishes, major production centers, and methods for long-term preservation.
Table of Contents
What is Kijiro-lacquer? A Refined Traditional Lacquer Technique That Highlights Wood’s Natural Beauty
Kijiro-lacquer (Kijiro-Urushi) is a lacquer art technique that places the beauty of wood grain center stage, characterized by carefully layering transparent lacquer to make the wood grain emerge vividly.
The deep transparency of the lacquer enhances the wood’s inherent texture, and the piece develops greater luster and depth with use over time.
Used for everything from everyday items like tea ceremony utensils, bowls, trays, and writing implements to high-end craft pieces, Kijiro-lacquer has long been cherished as a lacquer art form where materials and technique harmonize beautifully.
This section clarifies the definition of Kijiro-lacquer, its historical background dating to the Heian period, and the aesthetic reasons for its continued high regard today, unpacking the essence of this technique.
Defining Kijiro-lacquer: A Finish That Highlights Wood Grain Through Layered Transparent Lacquer
Kijiro-lacquer is a lacquer art technique that involves repeatedly applying transparent lacquer (lacquer with high transparency) to finish pieces while preserving the wood grain of the base material.
While typical lacquer work uses opaque pigmented lacquers like colored or vermillion lacquer, Kijiro-lacquer treats the wood’s natural expression as beauty itself, placing the grain’s variation, flow, and character of knots at the center of the work.
The process involves “kijigame” (wood hardening) to prepare the base, then repeatedly applying thin layers of transparent lacquer while polishing, carefully finishing until an even luster appears.
With each layer, transparency increases and the lacquer’s characteristic deep amber-colored layers develop, creating beautiful dimensional effects that change with light.
Additionally, the finish varies based on subtle adjustments to the wood hardening method, lacquer formulation, and drying environment, making this a technique that demands craftsmen’s experience and sensibility.
The unified texture of wood and lacquer truly exemplifies “lacquer art that brings out the material.”
Historical Background: From Heian Period Lacquerwork to Early Modern Tea Ceremony Utensils
Kijiro-lacquer has deep historical roots, nurtured during the development of lacquerwork from the Heian through Muromachi periods.
From the Heian period, decorative lacquer techniques (maki-e and raden) flourished in aristocratic culture, and through this process, an aesthetic sensibility developed that appreciated wood grain beauty with minimal lacquer application.
During the Muromachi to Azuchi-Momoyama periods, as tea ceremony culture flourished, finishes that preserved the wood grain came to be valued as embodying wabi-sabi aesthetics.
During the same period, negoro-nuri (black lacquer base with vermillion top coat) was also prized among tea practitioners, both sharing a common aesthetic that honored aging patina and material simplicity.
Particularly in the early modern period, Kijiro-lacquer became widely used for tea ceremony utensils and writing implements, emphasizing expression that was simple yet dignified.
As lacquer techniques became more sophisticated, application methods suited to specific wood types and transparent lacquer adjustments advanced, and unique Kijiro-lacquer expressions developed in various lacquerware production regions.
During the Edo period, domain-sponsored industrial promotion led to the development of regionally distinct techniques such as Joboji-nuri in Iwate Prefecture.
From the modern era onward, in conjunction with the folk craft movement, the value of “respecting material beauty” gained renewed attention, and Kijiro-lacquer came to be reconsidered as a technique that combines functional beauty for everyday use with craft artistry.
Thus, Kijiro-lacquer is a lacquer art technique with substantial historical depth that has evolved alongside the aesthetic sensibilities of each era.
Why Kijiro-lacquer is Valued: The Three Elements of Material Texture, Luster, and Depth
Three aesthetic elements explain Kijiro-lacquer’s high regard: material texture, luster, and depth.
- First, in terms of material texture, the wood grain’s structure and character appear directly, emphasizing the warmth and individuality inherent to natural materials. Since wood grain differs in every piece, the rarity of “no two pieces being alike” becomes attractive.
- Second, the luster is a soft sheen created by layering transparent lacquer—not a hard, mirror-like shine, but rather a dimensional radiance where light seems to penetrate deep into the wood surface.
- Third, depth comes from lacquer layers adding shadow to the wood grain and the “growing beauty” that emerges as color changes over time. The aging process where lacquer mellows and character deepens with use is a crucial element that increases the piece’s value as craft art.
These three elements combine to ensure Kijiro-lacquer continues to be beloved from everyday utensils to fine art pieces.
The “Transparent Depth” Created by Wood and Lacquer: Internal Technical Structure
The beauty of Kijiro-lacquer lies not in mere “transparency” but in the “depth” created when wood and lacquer respond to each other in layers.
At its core are three internal structural elements: wood selection, transparent lacquer adjustment, and repeated application and polishing.
Wood selection that captures grain movement determines the final impression, transparent lacquer’s refinement level and viscosity adjustment affect color and transparency, and the layered process of applying, wiping, and polishing completes the luster and smoothness.
In other words, Kijiro-lacquer is a technique that achieves its unique depth only by discerning the compatibility of wood and lacquer and accumulating meticulous process management.
Here, we organize these three elements from a technical perspective and explain the secret behind Kijiro-lacquer’s transparent depth.
Wood Selection: Conditions for Suitable Materials Like Zelkova, Japanese Horse Chestnut, and Cherry That Bring Out Grain Movement
In Kijiro-lacquer, wood selection is the first critical step that greatly influences the final impression.
Representative materials include zelkova with its powerful grain, Japanese horse chestnut with soft wave patterns, and Mizume cherry that shows uniform, delicate expression.
Zelkova has dramatic grain movement, and layering transparent lacquer intensifies its dimensionality, creating powerful visual impact.
Japanese horse chestnut often displays distinctive figured grain like tiger stripes or ripples, and transparent lacquer elegantly brings out these patterns. Mizume cherry has fine vessels that produce smooth finishes, creating refined and quiet expression.
Material selection criteria focus on whether the grain movement appears beautiful under transparent lacquer, whether color deepening through aging can be enjoyed, and whether dimensional stability is excellent.
Wood craftsmen comprehensively judge factors like wood hardness, dryness, and vessel arrangement to select sections where the finish will appear most striking.
Notably, zelkova’s “yasegakuru” phenomenon (where grain becomes more pronounced over time as lacquer moisture evaporates) is valued as aging patina that increases character, though warping risks must also be considered. The discerning eye for selecting quality materials becomes the starting point for Kijiro-lacquer’s appeal.
Transparent Lacquer Adjustment: How Refinement Level and Viscosity Determine Transparency and Luster
Transparent lacquer is the essence of Kijiro-lacquer, and its adjustment dramatically affects transparency, sheen, and aging characteristics.
First, refinement level is essential for removing excess impurities to achieve clear color.
Higher refinement increases transparency, creating depth where light seems to penetrate into the wood grain.
Viscosity affects ease of application and luster uniformity, and proper viscosity adjustment is indispensable for spreading thin, even coating films. Lacquer craftsmen adjust the drying room environment according to season and humidity, optimizing application and drying to form beautiful, even layers.
Transparent lacquer adjustment requires repeated trial and error and experience-based judgment, and craftsmen often possess their own unique formulation know-how.
Transparent lacquer adjustment can be considered an extremely sophisticated technical domain that determines Kijiro-lacquer’s “transparent depth” and color changes over time.
The Repeated Process of Applying, Wiping, and Polishing That Creates Luster and Smoothness
The sheen and smoothness of Kijiro-lacquer don’t result from a single application.
The layering process of repeatedly applying, wiping, and polishing creates lacquer’s characteristic deep luster.
First, “kijigame” (wood hardening) is performed by allowing raw lacquer to penetrate the wood, followed by several applications of filler made from polishing powder mixed with lacquer, which is then polished.
Next, transparent lacquer (unpigmented lacquer) is repeatedly applied. Through this repeated process, lacquer layers increase in thickness while maintaining transparency, and wood grain emerges with dimensional depth.
Polishing is performed in stages. Early stages involve water polishing with charcoal or whetstones, mid-stages use Suruga charcoal for fine adjustments, and final stages employ polishing powder or burnt deer antler powder (kaku powder). Adjusting pressure and angle according to materials is necessary.
In the final stage, “kasane-suri-urushi” (repeated wiping with cotton-applied sheen lacquer) is performed 2-3 times to increase surface density and create firmness.
This produces soft luster and a moist texture when touched. Over time, as transparent lacquer becomes more translucent and wood grain emerges further, this too becomes part of Kijiro-lacquer’s charm.
This finishing through repeated processes involves the time and tension unique to handwork.
Finishing Variations and Design Expression
While sharing the common aesthetic of highlighting wood grain, Kijiro-lacquer creates diverse expressions through variations in finish color and technique.
Color differences like vermillion Kijiro-lacquer, black Kijiro-lacquer, and natural finish result from lacquer adjustment and finishing processes, and are selected according to use and work formality.
Additionally, techniques like polishing out and polishing through subtly control how grain appears, allowing craftsmen to create strong contrast or soft shadows according to their intent.
Combinations with other techniques like cloth application also open new dimensions to Kijiro-lacquer’s character.
Below, we organize finishing variations and technical differences, and the breadth of design expression created by different vessel types to explain Kijiro-lacquer’s profound appeal.
Vermillion Kijiro-lacquer, Black Kijiro-lacquer, and Kijiro-lacquer: Color Variations and Applications
Kijiro-lacquer has multiple color tones depending on transparent lacquer formulation, base treatment, and whether coloring is added.
Vermillion Kijiro-lacquer adds vermillion-type pigments (bengara or crimson) to transparent lacquer, or applies transparent lacquer over a vermillion base, creating warm reddish tones suited to celebratory occasions and formal vessels with dignified presence.
Black Kijiro-lacquer adds small amounts of black lacquer (colored through iron powder oxidation) or applies black to the base, creating finishes that emphasize wood grain while presenting calm, stately character.
It’s frequently used for formal vessels like trays and stacked boxes.
Uncolored Kijiro-lacquer applies transparent lacquer as-is repeatedly and polishes, with natural color transitions from amber to candy color being its charm.
This beer-bottle-like transparent coloring deepens with use and pairs especially well with tea ceremony utensils and everyday bowls.
Yellow Kijiro-lacquer using yellow pigments (gardenia or Amur cork tree) also exists.
Furthermore, related techniques combining base and top coat colors, like negoro-nuri (black base with vermillion top coat) and akebono-nuri (vermillion base with black top coat), share the concept of utilizing beauty through wear-induced aging.
Color selection directly connects to work purpose and artist aesthetic, and even within Kijiro-lacquer, changing color tone dramatically shifts expressive direction.
Understanding these differences enables deeper appreciation of Kijiro-lacquer’s diverse finishes.
Techniques for Controlling Grain Appearance: Polishing, Transparency, and Combinations with Cloth Application
Kijiro-lacquer has developed techniques not just for showing wood grain but for adjusting “how” it’s shown.
Grain Expression Through Polishing Processes
In Kijiro-lacquer, after repeatedly applying transparent lacquer, grain expression is adjusted through gradual polishing.
Early stages use water polishing with charcoal to bring out grain, mid-stages employ Suruga charcoal for fine adjustments, and final stages use polishing powder or antler powder to create soft, translucent shadows.
Depending on polishing depth, applied pressure, and slight angle differences, the three-dimensional quality of grain is emphasized or takes on calm shadows with changing light, dramatically altering expression.
Fusion of Cloth Application and Kijiro-lacquer
Methods combining cloth application with Kijiro-lacquer also exist.
While traditionally cloth application for base reinforcement becomes invisible, recently “urushi-nuno mise technique” has been developed to intentionally feature cloth patterns on surfaces.
When cloth weave patterns overlap with wood grain, unique landscapes emerge where material textures resonate together.
Constructing Complex Expression
Applying transparent lacquer over cloth-applied sections creates complex textures where cloth shows through lightly, building substantial design quality.
Particularly by selecting custom linen and applying multiple lacquer coats, it’s possible to enhance surface scratch resistance while fusing cloth pattern character with lacquer coating texture.
These techniques rely on precise judgment of craftsmen’s polishing degree, lacquer formulation, and cloth selection, becoming elements that greatly expand Kijiro-lacquer’s expression.
Design by Application: Expressions of Kijiro-lacquer in Bowls, Trays, Stacked Boxes, and Tea Ceremony Utensils
Kijiro-lacquer requires different expressions depending on vessel type.
- For bowls, warmth when held and smooth mouthfeel are prioritized, so natural finish where grain emerges gently tends to be preferred.
- For trays, even luster quality across large surfaces is demanded, so black Kijiro-lacquer’s deep sheen enhances formality, with grain flow becoming a major design element.
- For stacked boxes, vermillion Kijiro-lacquer’s festive impression or black Kijiro-lacquer’s composed coloring harmonizes with celebratory settings, with careful design ensuring grain naturally continues across lid and body joints.
- For tea ceremony utensils, delicate finishes using polishing out and polishing through create grain expressions that change with light angle, pursuing wide-ranging beauty from austere landscapes to refined sheen.
While aesthetic directions required by different applications vary, all are based on the interaction of wood and lacquer, symbolizing Kijiro-lacquer’s multifaceted appeal.
Major Production Centers and Technical Individuality of Craftsmen
Kijiro-lacquer has evolved uniquely in lacquerware production centers across Japan, with different regional approaches to coating direction and finish expression.
In regions with deep traditions of wood and lacquer like Wajima, Yamanaka, Aizu, and Tsugaru, differences in base wood selection, lacquer formulation, and polishing degree create distinctive Kijiro-lacquer landscapes.
Among contemporary artists, experimental approaches have emerged that transcend the traditional premise of “showing” grain to treat lacquer layers themselves as expressive media.
Furthermore, workshop production environments—humidity-controlled drying rooms and the quality of well-used brushes—affect final sheen and transparency.
Here, we organize the characteristics of major production centers, contemporary artist expression, and the technical role of workshop environments to decode Kijiro-lacquer’s diverse individuality.
Regional Finishing Differences in Wajima, Yamanaka, Aizu, Tsugaru, and Other Areas
Though called by the same technique name, Kijiro-lacquer expression differs greatly by production center.
Durability in Wajima-nuri
Wajima thoroughly implements traditional base-making called “honkataji,” with multiple stages of base coating using “ji-no-ko” (fired Wajima diatomaceous earth), achieving durable, precise coating surfaces.
While ensuring this strength, repeatedly layering transparent lacquer forms deep transparent layers, securing quality that withstands years of use even in Kijiro-lacquer.
Woodturning Expression in Yamanaka Lacquerware
Yamanaka lacquerware excels in woodturning technique, particularly using a unique wood cutting method called “tatekidori” (vertical grain cutting) to ensure strength.
By layering transparent lacquer while preserving lathe marks, rotational rhythm overlaps with grain to create flowing, dynamic expression.
Division of Labor and Diversity in Aizu Lacquerware
Aizu lacquerware features “complete division of labor,” with wood craftsmen, lacquer artists, and maki-e artists each mastering their domains.
Particularly, Aizu’s unique “yokokidori” (horizontal grain cutting) wood cutting method is mainstream, with traditions developed from making vessels for common people.
Finishes that gently bring out grain movement are common, excelling in understated yet deep Kijiro-lacquer.
The “Suzuki-style lathe” developed in the Meiji era enabled accurate, uniform mass production of vessels.
These regional characteristics are shaped by material procurement, climate, and production environments, each reflecting aesthetic sensibilities about “how to perceive the relationship between wood and lacquer.”
Different approaches like Wajima’s “strength priority,” Yamanaka’s “wood technique priority,” and Aizu’s “division of labor and efficiency” bring regionally unique individuality even to the same Kijiro-lacquer technique.
Contemporary Artist Kijiro-lacquer Expression: Experimental Lacquer Layers and Cross-Material Collaboration
Among contemporary artists, movements actively expand Kijiro-lacquer beyond the traditional “technique for showing grain” into new expressive territory.
Some artists intentionally utilize lacquer layer thickness, visualizing stratified relationships with wood through staged polishing, creating sculptural surface compositions.
This method emphasizes the boundary where lacquer and wood dialogue, making material essence more clearly recognizable.
Cross-material collaborations are increasing, with works combining metal powder, washi paper, glass, and textiles so that wood movement and lacquer transparency resonate in complex ways.
In the plastic model lacquer art field as well, polishing techniques using metal powder are being practiced, with growing examples of applying traditional techniques to digital-age creation.
Artists experimenting with wood surface treatment methods to create new landscapes through interaction with lacquer layers are also emerging.
These attempts can be seen as challenges that expand Kijiro-lacquer’s possibilities by respecting ancient aesthetics while incorporating perspectives from contemporary art and product design.
Indeed, restoration projects are underway to repair Wajima-nuri tableware damaged by the Noto Peninsula earthquake, adding kintsugi techniques and contemporary design—examples where traditional craft rediscovers social value.
Workshop Work and Production Environment: Humidity Control, Drying Rooms, and Brush Quality
Kijiro-lacquer quality is greatly influenced not only by materials and techniques but also by workshop environment. Since lacquer is sensitive to temperature and humidity, drying room (muro) environmental control is one of the most critical elements.
Without proper humidity, drying doesn’t progress properly; conversely, excessive humidity causes unevenness, so craftsmen minutely adjust humidity according to season and weather, pursuing uniform coating film formation.
Directly connected to smoothness of finish is brush quality—quality brushes bundled from human or animal hair are lifelines for spreading lacquer extremely thin and evenly.
Furthermore, choices of whetstones and charcoal used in polishing processes, materials of vessels for storing lacquer, and other detailed workshop elements affect finishing.
When these environmental preparations and tool management are complete, Kijiro-lacquer’s characteristic transparent depth and sheen are realized, and completion quality as long-lasting vessels is elevated.
Summary
Kijiro-lacquer is a traditional technique with unique depth and luster born from the layering of wood character and lacquer transparency.
Understanding the internal structure of wood selection, transparent lacquer adjustment, and repeated application and polishing makes clear that finish differences arise from craftsmen’s experience and environmental preparation.
Furthermore, finish differences like vermillion Kijiro-lacquer, black Kijiro-lacquer, and natural finish, and techniques like polishing out and polishing through have richly expanded Kijiro-lacquer’s expression.
Regional characteristics and contemporary artists’ experimental challenges demonstrate the technique’s new possibilities, and understanding long-term preservation and daily care allows works to mature with deeper character.
Kijiro-lacquer, where tradition and innovation intersect, can be considered a craft that will continue evolving while encompassing diverse expression.
