Lacquer Painting (urushi-e) is a uniquely Japanese decorative technique that uses lacquer as paint to create images and patterns on the surface of objects. By combining gold and silver powders with colored lacquer, it produces deep colors and lustrous finishes, creating expressions that combine the beauty of painting with the unique texture of lacquer craftsmanship.
Table of Contents
Understanding the Basics of Lacquer Painting
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Lacquer Painting (urushi-e) is a technique that applies pictorial expression to vessels and panels using lacquer as paint. Like maki-e (gold and silver powder decoration) and chinkin (gold inlay), it represents Japanese lacquer art, but it is characterized by painting with brushes using colored lacquer or pigments mixed with lacquer, rather than decoration with gold powder or carving.
The supports are diverse, including vessels and panels, and because it can create unique surfaces that utilize luster, transparency, and thickness, it is valued as an expression that transcends the boundary between painting and crafts.
What is Lacquer Painting? ──Differences from Maki-e and Chinkin
Lacquer Painting differs significantly from maki-e and chinkin in that it uses lacquer directly as paint. Maki-e is a technique where gold or silver powder is sprinkled on patterns drawn with lacquer, characterized by gorgeous brilliance.
Chinkin, on the other hand, is a technique where the surface is carved and gold leaf or gold powder is rubbed into the grooves to make patterns emerge. Compared to these, Lacquer Painting has more pictorial freedom, using colored lacquer and lacquer mixed with pigments such as vermillion, verdigris, and ultramarine to paint with brushes.
Therefore, it can emphasize pictorial composition and brushwork, serving as a bridge between crafts and painting. Additionally, by utilizing the transparency and thickness of lacquer, it enables deep expressions that are impossible with oil or watercolor painting.
Where to Paint? ──Supports of Vessels, Boards, and Panels
Lacquer Painting has been used on a wide range of objects, from everyday vessels such as tea bowls, dishes, and tiered boxes to folding screens, partitions, and panel works. Traditionally, it was often painted on vessels made by applying layers of lacquer to wooden bases, and it was also frequently applied to tea ceremony utensils and Buddhist implements.
From the modern period onward, it expanded to board paintings and panel works as pictorial expression, strengthening the movement to appreciate lacquer art as fine art. The impression of the finished work varies greatly depending on the support. With vessels, both durability for use and decorative quality are balanced, while with panels, the luster of lacquer stands out on large pictorial surfaces.
Furthermore, there have been attempts to apply lacquer to cloth and paper, and contemporary artists are expanding their expressive territory beyond material boundaries. The choice of support is an element that greatly influences the purpose and intended expression of Lacquer Painting.
Luster, Transparency, Thickness ──Expressive Power Unique to Lacquer
The greatest appeal of Lacquer Painting lies in the texture and expressive power that lacquer itself possesses. Lacquer creates deep luster by layering, and creates a sense of depth by forming transparent layers.
For example, the technique where patterns drawn in lower layers can be seen softly through transparent lacquer in upper layers is an effect unique to Lacquer Painting. Also, since lacquer forms a hard film when it dries, it can be built up to create thickness, allowing expression of lines and patterns with three-dimensional quality. Different from the heaviness of oil painting and the lightness of watercolor, the beauty unique to lacquer is how colors and luster change depending on the angle at which light hits it.
Contemporary artists utilize this to challenge abstract expressions and modern art techniques, and Lacquer Painting continues to evolve as a field where tradition and innovation coexist.
History of Lacquer Painting
Lacquer Painting is one of the pictorial expressions born within Japanese lacquer art, developing alongside the evolution of maki-e and chinkin. From ancient to medieval times, it appeared as part of decoration, and in the early modern period, it expanded widely through tea ceremony and folding screen decoration.
From the modern period onward, it gained independence as “painting,” and in contemporary times, it is experiencing reevaluation and international attention.
Ancient to Medieval: “Drawing” Expression Sprouting Within Lacquer Art
Tracing the history of lacquer decoration, many vessels and musical instruments painted with lacquer remain in the Shosoin treasures from the Nara period, and traces of patterns drawn by mixing pigments with lacquer can be recognized in many of them. These go beyond mere application and can be called early “Lacquer Painting” techniques that express patterns by applying color over lacquer.
Later, in the Heian period, gorgeous decorative techniques using gold and silver powder and shells, such as raden (mother-of-pearl inlay), flat maki-e, and raised maki-e, became mainstream, but drawing expressions using colored lacquer mixed with pigments were also quietly inherited.
During the Kamakura and Muromachi periods, examples of applying linear drawings and patterns with lacquer on the surfaces of Buddhist implements and sutra boxes increased, and decoration that was conscious of “drawing” on lacquer surfaces became clear. This germinal stage became an important foundation supporting the later development of full-fledged Lacquer Painting techniques.
Early Modern Period: Lacquer Painting Spreads Through Tea Ceremony and Folding Screens and Vessels
From the Muromachi to Edo periods, Lacquer Painting developed significantly in connection with tea ceremony culture. Tea ceremony utensils such as tea bowls and tea caddies began to feature expressions using colored lacquer in addition to gold and silver maki-e, adding depth that connected to the aesthetic of wabi-sabi.
Also, during the Azuchi-Momoyama period, export lacquerware called “Nanban lacquerware” was produced, and large-scale works such as folding screens also appeared. Particularly in the Edo period, folding screens using unique techniques combining lacquer and mitsuda-e (a type of oil painting), such as “Kakko Saika” and “Momiji-no-zu Mitsuda-e Folding Screen,” were created and evaluated as works that challenged the boundary between painting and crafts.
Furthermore, in the Edo period, lacquer began to be applied to everyday items such as bowls and trays used by common people, playing a role in bringing decorative elements into living spaces. During this era, decoration with colored lacquer became established as an important decorative technique alongside maki-e and chinkin.
Modern to Contemporary: Artist Development and Reevaluation
From the Meiji period onward, lacquer art entered a new phase. Through participation in the 1873 Vienna World’s Fair, lacquer art as a whole appeared on the international stage as “art crafts.” Through participation in world’s fairs, art craft items such as lacquerware with uniquely Japanese characteristics were well received and sold in large quantities, contributing greatly to export promotion.
From the Taisho to Showa periods, Tomimoto Kenkichi pursued the creative principle of “not making patterns from patterns” in ceramics, and Matsuda Gonroku perfected maki-e techniques to such an extent that he was called “the demon of lacquer.” In Matsuda Gonroku’s works, free modeling that developed traditional lacquer art techniques was explored, including expressions using hyoshitsu (a technique of dyeing ivory and carving patterns).
After the war, traditional crafts were reevaluated within the trends of contemporary art, and in 1955, lacquer artists including Matsuda Gonroku (maki-e) were designated as Living National Treasures. From the 1970s onward, artists like Sumi Isaburo appeared who created lacquer panel works and painting-style works using chinkin techniques, and fusion with contemporary art also progressed.
Currently, exhibitions such as “Present State of Lacquer Expression 2024 – Gazing at Lacquer” (21st Century Museum of Contemporary Art, Kanazawa) focus on artists who perform unique expressions not confined to conventional lacquer art, and fusion with contemporary art is advancing, showing new developments while building on tradition.
Basics of Materials and Color Creation
Lacquer Painting, having a particularly “drawing” character among lacquer arts, is greatly influenced in the impression of works by material selection and color creation. Naturally utilizing the properties of lacquer itself, as well as harmony with pigments and foundation preparation, all serve as the basis of expression.
Here, let’s examine in sequence the types of lacquer, pigment design, and the role of foundation preparation.
Using Different Types of Lacquer (Raw Lacquer, Refined Lacquer, Colored Lacquer)
There are three main stages of lacquer used in lacquer work. First, “raw lacquer (ki-urushi)” is tree sap collected from lacquer trees that has only been filtered to remove impurities such as wood chips. It contains much moisture (15-30%) and has strong viscosity with quick drying, so it is mainly used for adhesion and foundation work.
Next, “refined lacquer” is raw lacquer that has undergone refining processes called “nayashi” (stirring to make lacquer components uniform) and “kurome” (heating to remove excess moisture). There is transparent amber-colored “clear lacquer (suki-urushi)” and “black lacquer,” which is made black through chemical reactions between lacquer components and iron ions by mixing iron powder during refining. These are frequently used for overall coating of vessels and surface finishing of paintings.
“Colored lacquer” is made by kneading pigments into clear lacquer, enabling diverse expressions in red, green, yellow, white, and other colors. The mixing ratio of lacquer to pigments is generally 1:1 by visual measurement. Colored lacquer serves to bring out pigment coloration while maintaining lacquer’s characteristic luster and depth. The appropriate use of lacquer according to purpose determines the texture and durability of lacquer decoration.
Pigments and Color Design (Mineral Pigments, Bengara, etc.)
Indispensable for creating colors in lacquer decoration are pigments. Traditionally, “mineral pigments” made by crushing natural stones, “bengara (red)” with iron oxide as the main component, arsenic sulfide-based “orpiment (sekio),” and “ultramarine (konjo)” derived from azurite were used.
Since these do not blend well with lacquer when particles remain coarse, they are finely crushed before being mixed into clear lacquer. From the modern period, chemical pigments also appeared and are increasingly used when seeking stable coloration and light resistance.
However, orpiment (sekio) is no longer used due to its arsenic sulfide content and toxicity, and substitutes such as gamboge (plant-based dye) are now employed. In color design, rather than simply pursuing brightness or saturation, it is important to adjust considering the amber-tinted, semi-transparent nature of clear lacquer. The coloration and depth that change subtly with light angles are charms unique to lacquer decoration, and the craftsperson’s experience in determining the balance between pigments and lacquer is crucial.
Foundation Preparation (Cloth Application, Rust Ground, Ground Powder) Roles
Supporting the beauty and durability of Lacquer Painting is the invisible “foundation.” Applying lacquer directly to wood tends to crack, so first hemp cloth called “cloth application” is attached to increase strength.
Next, “rust ground,” a paste made by mixing polishing powder and lacquer, is applied to smooth the surface. By further layering “ground powder” and ground coating lacquer, a foundation is completed where colored lacquer and painting can stably adhere.
This process may seem modest, but it greatly affects the luster and vividness of coloration in the finish. Properly prepared foundation not only makes surface painting last longer but also smooths brush movement during painting and expands expressive range. In other words, the attractive expressive power of Lacquer Painting is supported by meticulous foundation preparation.
Drawing and Finishing: Technical Points
Lacquer Painting creates deep expression through the process of drawing, layering, and polishing. Furthermore, by adding gold and silver powders or leaf, maki-e-like brilliance harmonizes with lacquer luster, expanding a unique worldview.
Here, let’s understand the basic flow of drawing and finishing and see how expressions unique to Lacquer Painting are completed.
Flow of Initial Drawing, Layering, and Polishing Out
Drawing in lacquer decoration begins with the preliminary drawing process called “okime.” The design is drawn with burnt lacquer (refined lacquer mixed with red iron oxide and heated) on the surface of Japanese paper overlaid on the design, which is then applied to the base material for transfer, and reference lines are established by making patterns emerge with small amounts of silver powder or white powder.
Next, “ground drawing” (drawing edges with lacquer) and “ground coating” (coating the inner surfaces) are performed along the transferred outlines, gold powder is sprinkled on top, and it is fixed with raw lacquer (in the case of flat maki-e).
Thick application all at once causes uneven drying between surface and interior, risking incomplete hardening inside, so thin layering is basic. When work is finished, the process proceeds to “polishing out,” where the surface is polished using charcoal and whetstones.
At this time, lower layer colors appearing slightly creates depth and complex expression unique to lacquer. The repetition from okime to polishing out is time-consuming, but it is an indispensable flow for creating layered luster and depth.
“Maki-e Style” Approach Utilizing Gold and Silver Powders and Leaf
What further expands the expressive power of Lacquer Painting is the technique of incorporating gold and silver powders and leaf. This connects to maki-e techniques, sprinkling gold and silver powder on parts drawn with lacquer or applying thin gold leaf to give brilliance.
The deep blacks and transparent reds of lacquer create contrast with the luster of gold and silver, giving the entire work an elegant atmosphere. For example, lightly scattering silver powder in the background can create starry sky-like expression, and using gold leaf partially on flower and bird motifs makes vitality and splendor stand out.
By incorporating such “maki-e style approaches” in addition to pure Lacquer Painting drawing, it becomes possible to fuse richer sculptural quality with contemporary sensibility.
Expression Determined by Drying, Hardening, and Polishing
What greatly affects the finish of Lacquer Painting is the drying and polishing process. Lacquer undergoes oxidative polymerization and hardens in environments with certain humidity levels, so it is dried in humidity-controlled rooms called “lacquer chambers.”
Insufficient drying causes cloudy luster, while excessive hardening makes it prone to cracking, so craftspeople make delicate adjustments according to weather and seasons. After complete drying, polishing arranges the surface and brings out maximum luster.
Fine polishing with charcoal and final lusting with oil or deer antler powder creates transparent luster and moist texture. Management from drying to polishing is the final stage that determines Lacquer Painting expression and is the part where artists’ experience and intuition are most tested.
Appreciation Points for Lacquer Painting
When appreciating Lacquer Painting, it is important to focus on the texture unique to lacquer as a material and the layering of strata, rather than viewing it merely as pictorial expression. Furthermore, by reading the creator and historical background from the condition of drawn lines, foundation finish, and signatures or seals attached to works, understanding of the work deepens. Below, let’s organize appreciation points concretely.
Viewing Luster and “Layers”: Sheen, Transparency, Depth
The core appeal of Lacquer Painting lies in the unique luster and transparency created by light reflection. Lacquer forms layers by repeated application, and their thickness and transparency give depth to works.
The visible colors change subtly depending on the angle of light, and sometimes red or brown can be seen slightly through black lacquer, and this “depth of layers” is precisely the highlight of Lacquer Painting. Checking whether the surface luster is uniform and emits soft light reveals the reliability of the craftsperson’s technique.
Also, Lacquer Painting gradually develops a calmer luster over time, increasing its moist character. How to receive changes over time is also one of the interesting aspects of appreciation.
Drawn Lines, Ground Condition, Foundation State
Indispensable for evaluating works is observation of the condition of lines and ground. Lacquer Painting is completed by drawing lacquer with fine brushes and layering delicate drawn lines. Therefore, it is important to confirm whether lines are unbroken and have consistent rhythm and strength variations.
Also, whether there is unevenness in the background ground and whether cracks or peeling can be seen on the surface become judgment materials during appreciation. Particularly if foundation processes are inadequate, cracking and lifting tend to occur in later years, so this also serves as a clue to knowing the preservation state of Lacquer Painting. Furthermore, observing how ground coating and painting layers harmonize allows reading the overall completeness and the artist’s conceptual power.
Reading Signatures, Seals, Certificates, and Production Background
To deeply appreciate Lacquer Painting, it is also essential to check signatures, seals, and attached certificates recorded on works. From signatures and artist seals, the creator’s individuality and production period can be estimated, and characteristics of workshops and schools can also be deciphered.
Also, works from the modern period onward sometimes have certificates issued by regional associations or organizations, and in regions designated for traditional crafts, they serve as quality assurance. Using such information as clues allows expanding understanding to the work’s provenance and the artist’s activity background.
Furthermore, by comparing with records published in exhibitions and art collections, positioning in art markets and collections can also be grasped. Reading signatures, seals, and certificates is the key to elevating Lacquer Painting from mere viewing objects to historical and cultural materials.
Conservation and Restoration Points for Long-term Enjoyment of Lacquer Painting
While the appeal of Lacquer Painting lies in the luster and layer beauty of lacquer, it is also a delicate material. It is easily affected by temperature, humidity, and light environments, and incorrect handling can lead to cracking and discoloration.
Furthermore, understanding daily cleaning and storage methods, as well as restoration consultation sources when damage occurs, becomes key to enjoying long-term appreciation. Specific points are organized below.
Considerations for Temperature, Humidity, Ultraviolet Light, and Chemicals
The most important aspect of preserving Lacquer Painting is environmental stability. Lacquer tends to develop mold in high humidity and crack when too dry. Therefore, it is good to manage humidity at around 50-60% and temperature at about 15-25 degrees Celsius.
Also, ultraviolet light accelerates lacquer deterioration and fading, so avoiding direct sunlight and using UV-cut glass or lighting filters during display is effective. Furthermore, proximity to chemicals, detergents, or volatile solvents can cause surface alteration of lacquer. Considering air environment in storage rooms and exhibition spaces and maintaining stable conditions is fundamental to long-term preservation.
Cleaning and Initial Response to Small Chips
For daily management, light cleaning by dusting with soft cloth is optimal. Rubbing strongly may damage the surface, so using dry chamois or soft brushes is good.
Even when small stains adhere, it is important to limit treatment to lightly touching with neutral soft cloth and never use alcohol or chemicals. Also, when small chips are discovered, it is wise to limit treatment to preventing damage expansion rather than attempting self-repair.
For example, lightly covering chip areas with Japanese paper to prevent dust and moisture entry and consulting specialists early is advisable. If initial response is not mistaken, later restoration can be minimized, leading to protecting the work’s value.
Consultation Sources and Feasibility for Recoating and Touch-up
Full-scale restoration of Lacquer Painting must always be entrusted to specialized lacquer art restorers or workshops. Recoating and touch-up require advanced techniques, and amateur intervention may make restoration marks conspicuous and actually damage value.
Particularly for works combining maki-e or chinkin, skills to correctly reproduce gold and silver powder and carving techniques are required. Reliable consultation sources include lacquer art workshops handling cultural property restoration, regional associations, or restoration departments of museums.
However, not all damage can be completely restored, and depending on work condition, it may be limited to partial repair. Therefore, it is important to discuss restoration feasibility, costs, and future preservation policies in advance and choose appropriate responses.
Summary
Lacquer Painting is a uniquely Japanese lacquer art that enables “drawing” expression utilizing lacquer’s characteristic luster and depth. Expanding from ancient to early modern times in tea ceremony utensils and folding screens, it has been highly valued in creative venues by artists from the modern period onward.
Through innovations in materials, pigments, and foundation, infinite expressions are born, radiating unique appeal different from maki-e and chinkin. During appreciation, focusing on luster, layer depth, drawn lines, and ground condition makes this elaborate world appear more vividly.
With proper storage and restoration, Lacquer Painting can be enjoyed across generations, and new value is also being added through contemporary artists’ challenges. Combining tradition and innovation, Lacquer Painting will surely continue to fascinate many people by transcending the boundary between crafts and fine art.
