Togidashi is an advanced urushi (lacquer) art technique that involves applying multiple layers of lacquer and then polishing the surface to reveal patterns and metal powders embedded within. The expression changes depending on the thickness of the layers and the pressure applied during polishing, creating a distinctive beauty characterized by light reflection and depth.
Deeply connected to the makie culture that flourished from the Muromachi to Edo periods, togidashi has expanded its applications in modern times to include accessories and art pieces. This article provides a clear explanation of togidashi’s technical structure, history, types, light effects, and contemporary applications.
Table of Contents
What is Togidashi? An Advanced Urushi Art Technique That Polishes Lacquer Layers to Reveal Patterns
Togidashi is an advanced technique used in combination with decorative methods such as makie and raden (mother-of-pearl inlay), where multiple layers of lacquer are carefully applied and then the surface is polished to intentionally reveal patterns in the lower layers. By repeating the application and polishing process, the lacquer layers gain transparency and depth, creating a distinctive expression where patterns appear to float to the surface.
The pressure and angle during polishing, as well as the choice of abrasives, directly impact the final result, making this a process where the craftsperson’s intuition and experience are crucial. This chapter organizes the definition of togidashi, its historical background, and the aesthetic reasons why it continues to be highly valued today, delving into the essence of the technique.
Definition of Togidashi: A Technical Structure That Polishes Layered Lacquer to Reveal Patterns
Togidashi is a technique where decorations such as makie, raden, and kirikane (cut gold leaf) are applied to the surface of an object, then multiple uniform layers of lacquer are applied over them. After complete drying, the surface is polished to “polish out” the patterns embedded in the lower layers. The lacquer layers primarily use transparent lacquer, adjusted to a thickness that allows the decorated areas to become slightly visible.
For polishing, materials such as whetstones, charcoal, and wood powder are carefully selected and used to gradually thin the surface layer, stopping the polishing at the optimal point where the pattern appears beautifully. This “stopping point” is what makes togidashi difficult—polishing too much causes the pattern to chip, while insufficient polishing leaves the outline ambiguous, requiring judgment at the micron level.
The final polishing finish evens out the lacquer film, creating a distinctive depth where the decoration appears to blend smoothly into the surface layer. Togidashi, completed through the interaction of application and polishing, can be considered one of the most intricate structural techniques in urushi art.
Historical Background: Makie Culture from Muromachi to Edo and the Aesthetic Sensibility Nurtured by “Polishing”
The origins of togidashi trace back to the makie techniques of the Muromachi period, when polishing technology underwent significant development. Makie is a technique that decorates objects using gold and silver powders, and by combining layered application with polishing, expressions that make patterns appear three-dimensionally evolved.
Particularly during the Momoyama to early Edo periods, with the rise of samurai culture, many magnificent makie furnishings were produced, and togidashi techniques became increasingly refined. Entering the Edo period, lacquerware spread beyond the samurai class to townspeople’s culture, creating demand for more delicate and elegant togidashi expressions.
In tea ceremony culture, beauty that harbors deep shadows within restrained designs was valued, and togidashi was treated as an important method for expressing “beauty that appears and disappears.” As aesthetic sensibilities changed with each era, togidashi—with its harmony of transparent lacquer layers and golden decorations—continued to maintain high prestige as a decorative craft.
Why Togidashi is Valued: Precision, Depth, and the Expression of Metallic Light
The high valuation of togidashi stems from its precise technique and the unique visual expressions it creates. First, the precision of uniformly layering lacquer and controlling the polishing so patterns emerge without distortion is the result of craftspeople’s advanced experience and delicate sensibilities.
Additionally, because patterns appear through transparent lacquer layers, a sense of three-dimensional depth is felt despite being on a flat surface. The way patterns gently shimmer or metal powder particles sparkle minutely depending on the angle of light means the work’s expression changes with time of day and light source.
Furthermore, metallic materials such as gold, silver, and aogane (blue-gold) develop subtle nuances through polishing, and the soft metallic luster on the surface enhances the dignity of the entire object. This fusion of precision and visual richness is why togidashi continues to be valued as one of the most aesthetically accomplished techniques in urushi art.
The Internal Mechanism of Togidashi Technique
While togidashi may appear to be simply “polishing to reveal patterns,” it actually possesses an extremely sophisticated technical structure where three stages—foundation design, pattern formation, and polishing process—work in tight coordination.
First, a smooth and strong foundation is prepared through powder undercoating, sabi (rust paste) undercoating, and base coating, upon which patterns are built using metal powders and raden. After layering multiple coats of lacquer, charcoal, polishing powder, and deer antler powder are used selectively to gradually shave the surface layer, and by “stopping” the pattern at the intended depth, the distinctive depth and scenery unique to togidashi finally emerges.
Here, we break down these three processes from a technical perspective to organize the internal mechanism that makes togidashi possible.
Foundation Design: Powder Undercoating, Sabi Undercoating, and Base Coating Quality Determines the Finish
Foundation design is so important that it can be said the success or failure of togidashi is almost determined by the initial foundation work. First, a layer called “powder undercoating,” made of mixed ground powder and lacquer, is applied over the wood base to fill distortions and wood grain irregularities while enhancing overall strength.
Next, “sabi undercoating” fills even finer irregularities, bringing the surface closer to mirror-like smoothness. If application unevenness or small air bubbles remain at this stage, the pattern outline will be disrupted during later togidashi polishing, or unintended chipping will occur, so craftspeople carefully repeat polishing and application, relying on light reflection and fingertip sensation.
The final base coating serves as the “stage” that supports the subsequently layered lacquer and patterns, and the overall tone is determined by the color and quality of the lacquer. Only with a foundation where strength, smoothness, and color tone are properly arranged can the upper-layer togidashi expression function stably.
Pattern Formation: Effect Differences by Materials Such as Metal Powders, Colored Lacquer, Raden, and Eggshell
Once the foundation is prepared, materials that compose the pattern are placed upon it. The most representative are metal powders such as gold powder, silver powder, and aogane powder, which are arranged through makie technique to create lines, surfaces, and gradations, calculated for how they will shine after the subsequent togidashi.
When colored lacquer is used, soft coloration and gradations through layering emerge, providing a matte expression different from metal powders. When raden is used, the thickness of shell fragments and the direction of cuts change the light reflection after polishing, creating brilliant iridescent sparkle.
Eggshell is applied as white fragments to create turtle-shell-like crack patterns and fine spotted designs, which develop distinctive expressions with sharp outlines emerging through togidashi. All materials are designed with the premise that they will be seen transparently through lacquer layers, and the spatial sense of “at what height and with what kind of light they should shine” becomes the key to pattern formation.
Polishing Process: Staged Design of Precision Polishing Using Charcoal Polishing, Polishing Powder, and Deer Antler Powder
The polishing process performed after layering lacquer is the core of the togidashi technique. First, using relatively coarse-grained charcoal in “charcoal polishing,” the surface lacquer layer is uniformly shaved while evening out the overall height.
At this stage, it’s important to proceed carefully without completely revealing the pattern yet, keeping the decorated areas only faintly visible through the lacquer. Next, using finer polishing powder, the pattern outline begins to appear clearly, and microscopic scratches on the lacquer surface are also reduced.
In the final stage, deer antler powder and even finer abrasives are used to remove cloudiness from the surface while adjusting the luster. The softness of metallic light and the transparency of lacquer layers change significantly depending on the pressure, polishing direction, and time distribution at this stage.
The judgment of when to stop polishing is an area where experience-backed “intuition” matters, and it’s a high-tension process where even slight excess can lead to pattern loss. Through this precise staged design, the distinctive depth and smooth luster unique to togidashi are born.
Variations and Expressive Effects of Togidashi
The togidashi technique is not merely a matter of “polishing out patterns,” but encompasses multiple variations that create completely different expressions depending on lower-layer materials and process design. Hyomon togidashi is the most basic structure, creating simple yet deep scenery by polishing out metal powders and colored lacquer.
When combined with raden or eggshell, light reflection and color changes become more complex, revealing three-dimensional and brilliant effects. Additionally, the required expression changes with purpose: for vessels, restrained polishing; for boxes, full-surface pattern composition; for tea utensils, beauty of shadow; and for interior panels, designs emphasizing optical brilliance.
Below, we delve into representative types of togidashi, the optical effects patterns create, and differences in scenery by application.
Differences Between Hyomon Togidashi, Colored Picture Togidashi, and Raden Togidashi
Togidashi has several representative variations, each with significant differences in technical structure and final scenery. The most basic is “hyomon togidashi,” a method where patterns using metal powders, colored lacquer, and kirikane are covered with multiple lacquer layers and then polished out.
Its characteristic is an expression where outlines appear smoothly and patterns quietly float up from the depths of the lacquer layers. “Colored picture togidashi” draws patterns using colored lacquer and pigments, intentionally polishing out these color layers to express soft three-dimensionality and textural differences.
Characterized by “subdued coloration” different from metal powders, it achieves a more pictorial expression. “Raden togidashi” uses shell fragments for patterns, and by polishing them out, the iridescence of shells emerges from within the lacquer layers, with color tone changing depending on light angle. Raden in particular varies greatly in brilliance depending on thickness and cutting method, creating advanced expressions where delicate gradations emerge through compatibility with polishing.
Visual Effects of Patterns: Light Reflection, Shadow, and Three-Dimensional Structure of Color Layers
The characteristic visual effects created by togidashi lie in light reflection, shadow fall, and the three-dimensional structure of layered colors. Patterns seen through lacquer layers differ from those directly drawn on the surface—as light repeatedly reflects and is absorbed inside the layers, they take on depth and soft radiance.
For patterns using metal powders, fine particles shimmer as they receive light, creating “moving light” where brightness changes with viewing angle. In the case of colored lacquer, color layers sink beneath the transparent lacquer membrane, creating soft tonal gradations like shadows, expressing pictorial depth.
Furthermore, with raden, interference effects where color changes with light wavelength appear, with blue, green, and purple intricately intersecting to create the multi-layered scenery unique to togidashi. These optical effects are realized through precise process management of how much lacquer layer to retain and at what stage to stop polishing, with craftspeople’s judgment greatly influencing the work’s impression.
Expression by Application: Development in Vessels, Boxes, Tea Utensils, and Interior Panels
The scenery and expression required of togidashi changes significantly with application. For vessels, restrained polishing where patterns appear moderately on the rim or interior is preferred, emphasizing gentle radiance that isn’t too strong during use.
For boxes, bold pattern arrangements conscious of lid and body surface composition are used, characterized by gorgeous finishes where togidashi depth is visible across wide areas. For tea utensils, deep polishing that absorbs light and beauty of shadow created by contrast with black lacquer are required, with expressions harboring silence and tension being frequently used.
In recently increasing interior panels, polishing that emphasizes optical brilliance in consideration of lighting compatibility is adopted, with highly artistic works contributing to spatial production being developed. Understanding aesthetic standards by application reveals that even with the same togidashi, the required attitude and expression differ greatly, broadening the perspective for appreciation.
Maintenance and Long-Term Preservation
While togidashi works are attractive for the transparency of lacquer layers and delicacy of patterns, they are sensitive to external environments, making appropriate care and preservation key to maintaining their finish. Daily care is based on gentle handling centered on dry wiping, avoiding strong cleaning agents and sudden temperature changes.
Additionally, since the slight irregularities created by polishing marks and the texture of metal powders are prone to cloudiness and discoloration over time, management of oils, humidity, and light is essential. For long-term storage, balancing light intensity, humidity, and temperature prevents deterioration of lacquer layers and pattern sinking.
This chapter systematically explains specific care methods for enjoying togidashi works beautifully for a long time and standards for preservation environments.
Daily Care: Soft Cloth, Dry Wiping, and Washing Rules
- Daily care for togidashi works shares common practices with general lacquerware handling, but requires methods more conscious of surface delicacy. After use, lightly dry wipe with a soft cloth to remove dust and fingerprints, which is sufficient. When water washing is necessary, dissolve a very small amount of neutral detergent in lukewarm water and gently wash with a soft sponge.
- Metal scrubbers, abrasives, and bleach are strictly prohibited as they damage the togidashi surface or adversely affect the luster of metal powders. After washing, do not leave moisture remaining but gently pat dry, ideally allowing natural drying away from direct sunlight.
- Additionally, since hand oils can cause cloudiness, washing hands before and after use is also effective. Small daily precautions are important points for maintaining the transparency of lacquer layers and the brilliance of patterns over time.
Measures Against Polishing Mark Deterioration, Cloudiness, and Metal Powder Discoloration
- The surface of togidashi has extremely fine irregularities formed by polishing. When moisture, oils, or dirt accumulate in these areas, it leads to cloudiness and deterioration, so regular maintenance with dry wiping is effective.
- When cloudiness occurs, placing the work in a dry environment for several days may improve it, and for mild cases, gentle polishing with a soft cloth may restore luster. On the other hand, metal powder discoloration is caused by humidity and hand oils, making humidity management during storage and wiping after use important.
- If strong discoloration or pattern sinking is observed, self-polishing may scrape off patterns, so consultation with a specialist workshop is recommended. Since togidashi is a technique based on layered structure, whether re-polishing or re-coating is possible varies by work, and professional knowledge is needed to assess condition.
Long-Term Storage: Standards for Protecting Works from Light, Humidity, and Temperature Fluctuations
- For long-term storage, control of the three elements—light, humidity, and temperature—is critically important. Direct sunlight causes lacquer film deterioration and metal powder discoloration, so storage in a dimly lit, stable location is ideal.
- Humidity of approximately 50-70% and temperature of 15-25°C are guidelines, as extreme dryness or high humidity causes lacquer film contraction and expansion, leading to pattern floating or sinking. Additionally, over-sealing increases the risk of mold and cloudiness, so ensuring moderate ventilation is also important.
- When wrapping for storage, use breathable washi (Japanese paper) or cotton rather than synthetic fibers, wrapping lightly to avoid friction on lacquer surfaces. Checking condition once every six months to a year and briefly airing it out also has a deterioration prevention effect. By maintaining these standards, togidashi works can maintain their beauty over many years and continue to cultivate their depth and light expression.
Contemporary Applications and Market Potential of Togidashi
While togidashi is a traditional urushi art technique, it is gaining new value in contemporary architecture, interior design, and art fields. The visual effect of patterns emerging from within lacquer layers is compatible with lighting design and spatial production, earning high evaluation as interior panels and art pieces.
Additionally, in overseas markets, “the shimmer of light created by microscopic layered structure” is recognized as originality, with increasing attention as a craft expression originating from Japan. Furthermore, through production experiences, workshops, and exhibitions, efforts to help people understand togidashi’s technical structure and aesthetic sensibility are increasing, enhancing its value as cultural dissemination.
Below, we organize applications in architectural fields, overseas demand, and the expansion of popularization activities to explain what kind of market potential togidashi holds in contemporary times.
Application as Architectural and Interior Materials (Panels and Art Pieces)
Because togidashi has characteristics where patterns float depending on how light hits them and expression changes with time of day, its application in architectural and interior fields is rapidly increasing. Particularly for wall panels and large art pieces, the transparency of lacquer layers and the brilliance of metal powders and raden coordinate with lighting, having the power to produce space itself as a “living surface.”
For example, in hotel lobbies, black lacquer-based togidashi creating quiet depth is adopted, while in luxury brand stores, gorgeous surfaces using strong reflection of metal powders are selected. Additionally, in Japanese-modern residential spaces, togidashi with restrained color layers becomes an accent that utilizes material texture, also popular as furniture doors and small panels.
Unlike wood or stone, because the optical layered structure creates change, it is highly valued as a design material that adds “movement” to space. Thus, togidashi, while being a traditional craft, can be said to be an expression method with flexibility to blend into contemporary architecture.
Evaluation in Overseas Markets: Why Color Layer Beauty and Light Effects Stand Out
Overseas, togidashi’s “color layer beauty” and “light interference effects” are highly valued as art. Particularly at galleries and design fairs in Europe and America, in addition to the rarity of urushi as a material itself, the multi-layered depth created by polishing out lacquer layers attracts attention as a unique expression not found in painting or metalwork.
The phenomenon where metal powders shimmer by reflecting light is also compatible with Western residential culture rich in spatial lighting, with increasing cases of introduction as wall art. Additionally, in the case of togidashi using raden, because iridescence changes with light angle, the point that works appear to “move” depending on exhibition space circulation is particularly favored.
Overseas buyers tend to emphasize abstract patterns and material beauty over Japanese symbolic motifs, and togidashi can be said to be a technique with high universality in that regard. Thus, optical beauty and the rarity of material culture support togidashi’s evaluation in overseas markets.
Popularization and Dissemination Through Experiential Workshops and Exhibitions
To broadly communicate the appeal of togidashi, dissemination through experiential workshops and exhibitions has become active in recent years. In workshops, through simplified polishing-out experiences and pattern application, participants can experience the structure of lacquer layers and the difficulty of polishing firsthand, deepening understanding and greatly contributing to expanding interest in crafts.
In exhibitions, displays that visualize the production process and installation formats showing togidashi changes while illuminating them are well-received, serving as effective approaches especially for younger audiences and overseas tourists. Additionally, through video dissemination on social media, the “beauty of transformation” where patterns appear at the moment of polishing has visual appeal, establishing itself as a method for conveying craft charm.
Such participatory and viewing-oriented dissemination not only promotes understanding of togidashi technique but also connects to strengthening the market foundation that supports production areas and artists’ activities.
Conclusion
Togidashi is an advanced technique in urushi art that carefully polishes layered lacquer to reveal patterns. Through the tight coordination of foundation design, pattern formation, and polishing processes, it creates unique beauty where transparency, depth, and shimmering light coexist.
Variations such as hyomon togidashi, colored picture togidashi, and raden togidashi create diverse scenery through combinations of materials and layered structures, corresponding to a wide range of applications from vessels to tea utensils and interior panels. In contemporary times, evaluation in architectural and art markets is rising, with active dissemination through overseas demand and workshops.
With appropriate maintenance and properly arranged preservation environments, togidashi preserves its beauty over many years, continuing to cultivate value as a craft where change can be enjoyed.
