Kyushitsu (Japanese Lacquerware) is an advanced technique representing Japanese lacquer crafts, where lacquer is applied multiple times to wooden surfaces, repeatedly sanded and polished to achieve the final finish. Some pieces undergo over 30 cycles of coating and sanding, resulting in deep luster, smoothness, and durability that combines the strength of practical items with the beauty of artistic works.
This article provides detailed explanations of Kyushitsu’s historical background, coating and sanding processes, types of lacquer, and finish variations. We invite you to thoroughly appreciate the world of Japanese craftsmen’s handiwork that supports Japan’s craft aesthetics.
Table of Contents
What is Kyushitsu (Japanese Lacquerware)? — A General Term for Traditional Techniques of “Layering” Lacquer
Kyushitsu (Japanese Lacquerware) is a general term for traditional lacquer art techniques that involve applying lacquer to substrates such as wood, cloth, paper, and metal, then repeatedly drying and polishing to form durable and beautiful lacquer films. “Kyu” means “to coat” or “to paint,” and it refers not to simple surface coating but to the entire complex process from base preparation to finishing.
Lacquer is refined from raw lacquer (ki-urushi) and possesses characteristics of water resistance, antiseptic properties, and decorative qualities as a coating film, with the additional feature of deepening luster over time. Kyushitsu is a systematized technique developed to maximize the natural material properties of lacquer and serves as the foundation supporting East Asian lacquer culture in Japan, China, and Korea.
Below, we will explain the process of repeatedly “coating, sanding, and polishing,” its relationship with China’s oldest technical manual “Kaokong Ji,” and the aesthetic consciousness that has continued from Japan’s Jomon period.
The Basic Process of Lacquer Arts: Repeatedly “Coating, Sanding, and Polishing”
The Kyushitsu process doesn’t end with simply applying lacquer once. At each stage of base coating, intermediate coating, and top coating, the cycle of “coating,” “drying,” “sanding,” and “polishing” is repeated to form lacquer films that are durable, smooth, and possess deep luster.
In base preparation, base lacquer mixed with wood powder, polishing powder, rice paste, and lacquer is applied to the substrate, then repeatedly dried and sanded multiple times to eliminate scratches and distortions while stabilizing the vessel’s shape. In intermediate coating, the base level differences are filled while building up lacquer layers, and in top coating, clear lacquer is applied with brushes and hardened in lacquer chambers with humidity control while avoiding dust.
After drying, careful polishing is performed using abrasives and polishing powder to create mirror-like luster. These processes may be repeated 5 to over 30 times depending on the product, and the finished pieces become artistic works that combine water resistance, durability, and decorative properties. Lacquer coating is truly the essence of traditional crafts, created through craftsmen’s experience and skill, material quality, and time-intensive work.
Japan’s Aesthetic Consciousness of “Coating and Luster” Continuing from Jomon Lacquerware
The history of lacquer arts in Japan dates back to the Jomon period. Lacquered wooden products and pottery excavated from sites such as the Sannai-Maruyama site in Aomori Prefecture show that people over 6,000 years ago were already using lacquer not only to enhance waterproof and antiseptic functions but also to pursue lustrous and beautiful finishes.
This aesthetic consciousness of appreciating “coating and luster” has been continuously inherited through the Yayoi, Kofun, Nara, and Heian periods, developing various decorative techniques such as maki-e, raden, and carved lacquer, continuing to the present day. Japanese Kyushitsu particularly values “plain luster,” with the advanced skills of lacquer masters who achieve mirror-like gloss while suppressing coating irregularities being highly evaluated.
Additionally, a division of labor system including wood base and foundation processes was established, and different coating techniques developed in each region (Echizen, Wajima, Tsugaru, etc.). Japan’s unique aesthetic consciousness of “beauty of use” and “enjoying beauty through aging” has elevated Kyushitsu techniques from mere technology to culture itself.
The Development of Kyushitsu and Regional Characteristics
Kyushitsu (Japanese Lacquerware) refers to all techniques of layering lacquer and has been the fundamental technical system supporting East Asian lacquer culture. While utilizing the inherent characteristics of lacquer, it creates lacquer films with both durability and beauty through repeatedly “coating,” “sanding,” and “polishing.”
Its development has been supported by the establishment of theories and the accumulation of regional innovations. In China, the theoretical manual “Xiushi Lu” was compiled during the Ming and Qing periods, while in Japan, unique techniques and aesthetic consciousness were formed regionally, such as Wajima-nuri, Aizu-nuri, and Echizen lacquerware.
Furthermore, with the spread of chemical paints after the modern era and the subsequent reevaluation of natural lacquer values in response, techniques and values have evolved with changing times. Below, we will detail China’s theorization, Japan’s regional characteristics, and contemporary trends.
China’s Ming-Qing Period “Xiushi Lu” Established the Theoretical System of Lacquer Coating
China had developed lacquer techniques since ancient times, with foundations recorded in the Warring States period’s “Kaokong Ji,” but during the Ming and Qing periods, this knowledge and technology became further systematized. Particularly, the technical manual “Xiushi Lu” established from late Ming to early Qing is considered the most detailed theoretical work on lacquer coating, comprehensively explaining substrate selection, base adjustment, lacquer preparation, application methods, drying management, and decorative techniques.
This book was a manual that consolidated craftsmen’s experiential knowledge and greatly influenced lacquer techniques not only within China but also in the Korean Peninsula and Japan.
“Xiushi Lu” theoretically organized the multi-layered lacquer film formation through repeatedly “coating, sanding, and polishing,” and in decoration, it created sophisticated art and craft works by combining various techniques such as carved lacquer, raden, tian lacquer, and gold painting.
The existence of this theorization can be said to be the background that elevated Kyushitsu from craft to art, establishing the pinnacle of East Asian lacquer arts.
Regional Japanese Lacquerware — Differences Between Wajima-nuri, Aizu-nuri, and Echizen Lacquerware
In Japan too, lacquer coating developed unique techniques and designs in each region, fostering characteristics as traditional crafts.
**Wajima-nuri (Ishikawa Prefecture)** is characterized by durability and decorative properties, applying multiple layers of cloth attachment and base lacquer, further enhanced with gorgeous decorations through maki-e and chinkin techniques.
The base made from local Wajima earth powder and rice paste prevents cracking and warping, providing excellent durability, making it widely supported from daily-use tableware to high-end furnishings. On the other hand, **Aizu-nuri (Fukushima Prefecture)** is lacquerware culture that was encouraged and spread during the feudal period, characterized by the magnificence of black lacquer coating, vermillion lacquer coating, and gold maki-e.
It has both aspects of heavy designs influenced by samurai culture and affordable lacquerware that spread among common people.
**Echizen lacquerware (Fukui Prefecture)** holds the top market share for commercial lacquerware, achieving both mass production and high quality utilizing a division of labor system. In addition to the lustrous expression of plain coating, its base techniques pursuing durability are highly evaluated. Thus, each region’s natural environment, history, and consumer culture have characterized their respective lacquerware.
Modern Era’s Chemical Paint Proliferation and Natural Lacquer Revival Movement
With the progress of modernization and industrialization, the world of lacquer arts also faced a major turning point. The proliferation of chemical paints rapidly penetrated the furniture and tableware industries from the mid-20th century, centered around their advantages of being inexpensive, quick-drying, and suitable for mass production compared to natural lacquer, which has long drying times and is difficult to handle.
However, chemical paints could not reproduce the deep luster unique to natural lacquer, the texture from aging changes, and the moisture permeability that protects wood while allowing it to breathe, leading to renewed appreciation for natural lacquer among craftsmen and enthusiasts. Currently, craftsmen who inherit traditional techniques are working to preserve regional brands while focusing on new product development and technique inheritance using natural lacquer to meet overseas demand and diversified design needs.
This movement overlaps with the reevaluation of Japanese-style manufacturing culture that respects natural materials and values the “growing beauty” that develops over time, holding significance for transmission to future generations.
Material Selection Supporting Kyushitsu (Japanese Lacquerware)
The Kyushitsu (Japanese Lacquerware) process is essential for supporting the beauty and durability of lacquer arts. Lacquer is not merely paint but a high-performance resin derived from natural sources, and to maximize its properties, materials must be optimally selected across multiple stages including application, hardening, polishing, and decoration.
Particularly, the differences in properties due to raw lacquer (ki-urushi) origin and component ratios, the selective use of lacquer types according to processes, and base preparation mixing wood powder, polishing powder, and rice paste are important elements that determine the strength, luster, and design quality of finished products. Below, we will detail the component differences between domestic and Chinese raw lacquer, process-specific lacquer selection, and the roles and combinations of base materials.
Component Ratios and Hardening Speed of Domestic vs. Chinese Raw Lacquer (Ki-urushi)
Raw lacquer (ki-urushi) is tree sap collected by making cuts in the bark of lacquer trees and is the basic material for lacquer arts. Lacquer sap contains resin components mainly composed of urushiol, water, enzymes, and rubber-like substances.
Domestic lacquer (Japanese-produced) has a relatively high urushiol content of about 60-70%, relatively high viscosity, and characteristics of producing strong, transparent lacquer films after drying with lustrous finishes. However, the drying (hardening) speed is somewhat slow, requiring careful humidity management after application.
On the other hand, Chinese lacquer has urushiol content ranging from about 43-71% depending on origin and refinement level, and with higher proportions of water and other components in some cases, hardening speed and workability differ by origin and quality, sometimes inferior to domestic lacquer in lacquer film transparency, stickiness, and glossiness. In modern lacquer art settings, cases of blending domestic and Chinese lacquer for cost and workability considerations are increasing. Understanding material characteristics and selecting optimal lacquer according to purpose and expression is key to creating high-quality Kyushitsu works.
Raw Lacquer (Ki-urushi), Clear Lacquer (Suki-urushi), Roiro Lacquer — Process-Specific Lacquer Types
Kyushitsu techniques use lacquers with different properties for each process.
Raw Lacquer (Ki-urushi)
Raw lacquer (ki-urushi) is unrefined lacquer as collected, containing water and fine bark particles, resulting in reddish-brown semi-transparent films. With high adhesion and hardness, it’s suitable for wiping lacquer, base application, and adhesive wheat lacquer and paste lacquer.
Clear Lacquer (Suki-urushi)
Clear lacquer (wood-base lacquer) is refined lacquer where raw lacquer is stirred (nayashi) and low-temperature heated (kurome) to evaporate water, then filtered to increase transparency. It creates amber-colored transparent films and is widely used for intermediate coating, top coating, polished finishes, and as a base for colored lacquers.
Roiro Lacquer
Roiro lacquer is black lacquer made by reacting raw lacquer with iron to create black coloration, then refined to an oil-free state. Since no pigments are added, the lacquer film gains depth, and when top-coated followed by charcoal polishing and roiro polishing, it achieves mirror-like deep black luster.
Thus, the material design of base = raw lacquer system, middle/upper layers = clear lacquer, final mirror finish = roiro lacquer, combined with the repetition of “coat → dry → sand → polish,” creates durable and beautiful multi-layered lacquer films.
Creating Durable Bases by Combining Earth Powder, Polishing Powder, and Rice Paste
Supporting the finish of Kyushitsu is “base preparation.” This is not mere undercoating but work to prevent warping and cracking of the wood base, enhance lacquer film adhesion, and prepare the foundation that enables final luster and mirror finishes.
Base lacquer uses paste-like materials mixing earth powder (powdered diatomaceous earth fired and ground) or polishing powder (stone powder) with raw lacquer and rice paste. By applying this in multiple layers, drying, and polishing, it fills substrate irregularities and forms a smooth, durable foundation.
In Wajima-nuri, “cloth attachment” is performed to reinforce crack-prone parts of the wood base with hemp cloth or cheesecloth. First, “attachment lacquer” mixing raw lacquer with a small amount of rice paste is soaked into cloth and carefully pressed onto the wood base with spatulas or fingers. After the attachment hardens, overlapping cloth parts are scraped away, and “sozhin lacquer” mixing raw lacquer and earth powder is applied to cleanly fill the cloth texture. This constructs a durable base layer resistant to cracking.
Such base preparation is an important process supporting the value of Kyushitsu where lacquer films last long and increase in beauty through aging. Craftsmen pursue quality consistently from base to finish while fine-tuning preparations by reading temperature, humidity, and material characteristics.
Basic Processes and Craftsmanship of Kyushitsu
Kyushitsu (Japanese Lacquerware) is a traditional technique that forms durable and beautiful lacquer films by applying multiple layers of lacquer and repeatedly drying and polishing. This process is not simple painting but proceeds over several days to months while reading material characteristics and finely adjusting tools and environment.
Particularly, the three base stages of wood base hardening and cloth attachment prevent warping and cracking while supporting the foundation for lacquer film durability. In intermediate and top coating, humidity management in lacquer chambers is crucial, with craftsmen repeatedly coating and drying “like breathing.” Finally, in polishing and roiro polishing, charcoal and polishing powder are utilized to create mirror-like deep luster. Below, we will detail each stage and explore why Kyushitsu is craftsman artistry beyond mere technique.
Wood Base Hardening → Cloth Attachment → Base Coating — Three Base Stages Preventing Warping
In Kyushitsu, first “wood base hardening” involves rubbing raw lacquer into the substrate, coating the inner walls of vessels with lacquer film to suppress wood expansion and contraction. Following “cloth attachment” involves applying hemp cloth to joints and edges with attachment lacquer (raw lacquer + rice paste), forming layers strong against cracking and impact.
Base coating involves repeatedly coating, drying, and sanding base lacquer mixed with earth powder, raw lacquer, and rice paste to fill wood base level differences and eliminate cloth texture. After cloth texture is arranged, a rust-fixing layer with added polishing powder further enhances smoothness, creating a foundation for uniform top coating. The key to creating durable lacquerware that withstands long-term use is adjusting blend ratios and coating thickness while reading temperature, humidity, and lacquer conditions.
Building this layer fills wood base level differences, enhances lacquer adhesion, and realizes beautiful smooth surfaces in top coating. Without solid bases, no matter how skillfully top-coated, lacquerware cannot withstand years of use. Craftsmen create optimal bases for each vessel while adjusting base lacquer hardness and application amounts according to temperature and humidity.
Intermediate Coating → Top Coating — “Lacquer Chamber” Management Tips for Repeated Coating and Drying
After base completion, intermediate and top coating layer lacquer films and adjust final coloration and texture. In intermediate coating, higher-refined clear lacquer is applied repeatedly, filling base polishing marks while creating smooth surfaces. After application, it’s placed in high-humidity spaces called “lacquer chambers” and enzyme hardening is promoted at appropriate humidity (around 70-80%).
Over-drying causes shrinkage and irregularities, while insufficient humidity prevents hardening, so craftsmen read seasons and weather while finely managing room temperature and humidity. Top coating uses even higher-refined roiro lacquer, requiring technique to coat completely without brush marks appearing.
During top coating, lacquer chambers are cleaned to prevent dust and dirt attachment, with consideration for static electricity and air flow. Through this delicate management, lacquer films with the deep transparency and color depth unique to lacquer are born.
Polishing → Roiro Polishing — Finishing Techniques Creating Mirror Surfaces with Charcoal and Polishing Powder
The final finishing processes are “polishing” and “roiro polishing.” After top coating completely hardens, these are performed to remove fine scratches and brush marks while producing ideal luster. In polishing, surfaces are carefully polished with charcoal (fired and ground wood charcoal) or whetstones while adding water to eliminate minute irregularities.
Incorrect force here can over-sand lacquer films or create irregularities, requiring skilled technique. Subsequently, in roiro polishing, polishing mud made by mixing polishing powder or polishing stone powder with plant oil is used, polishing in circular motions with cotton cloth or palms.
This creates gloss and deep coloration that reflects surroundings like mirrors. Since lacquer allows light to pass through while internally scattering, unique “luster with depth” is born. Such finishing increases luster further through friction and hand oils with use, making it beloved as “growing craftwork” for many years.
Finish Variations in Kyushitsu
Kyushitsu (Japanese Lacquerware) is a general term for traditional techniques created by layering, sanding, and polishing lacquer, but its finished products have diverse finishes based on region, purpose, and aesthetic consciousness. While the process of repeated coating itself is common, finish expressions strongly reflect craftsmen’s aesthetic sense, customer demands, and living culture.
For example, representative types include mirror-like “hana-nuri” with eliminated brush marks, “shunkei-nuri and kijiro-nuri” that beautifully show wood grain through transparency, and “tame-nuri and nashiji finish” that absorb light and softly diffuse it. Each finish is a crystallization of technology that applies the basics of coating, drying, and polishing while maximally drawing out lacquer’s inherent transparency, luster, and depth. Below, we will detail major finish variations and explore their aesthetic value and depth as craft techniques.
Hana-nuri — Uniform Mirror Finish with Eliminated Brush Marks
Hana-nuri (tate finish) is one lacquer coating technique where oil-containing lacquer is applied in top coating, then dried as-is without sanding or polishing, creating a finishing technique that enjoys lacquer’s inherent soft texture and gentle luster. Rather than creating uniform gloss like mirrors, it’s characterized by “coating finish” texture that achieves plump coating surfaces without leaving brush marks.
When deep mirror-like gloss is desired, roiro-nuri is used. In roiro-nuri, “roiro lacquer” blackened through iron reaction is top-coated, then repeatedly sanded and polished after drying to achieve mirror-like gloss.
Hana-nuri not only produces luster but draws out deep black or vermillion coloration with depth, allowing enjoyment of aging changes where luster increases further with use. This finish is frequently used for tea utensils, nested boxes, and furnishings requiring formality, considered the pinnacle technique of lacquer arts.
Shunkei-nuri and Kijiro-nuri — Transparent Lacquer Techniques Utilizing Wood Grain
Shunkei-nuri and kijiro-nuri are techniques that particularly pursue “beauty showing materials” within Japanese lacquer arts. Rather than opaque layering, these feature finishes utilizing wood base grain through transparent lacquer.
In shunkei-nuri, thin yellowish clear lacquer is layered, with light passing through making wood grain appear to shine golden. In kijiro-nuri, highly transparent roiro lacquer is used, highlighting wood grain in deeper brown to blackish-brown hues. In these techniques, base treatment is kept minimal, making wood base polishing and substrate adjustment extremely important for beautifully showing wood grain.
Additionally, since transparent lacquer easily picks up color irregularities and dust, craftsmen utilize advanced techniques for thorough humidity management after application and brush mark arrangement. These finishes symbolize Japanese “beauty of use” sensibilities and respect for natural materials.
Tame-nuri and Nashiji Finish — Deep Expression Absorbing and Diffusing Light
Tame-nuri and nashiji finish are techniques that utilize lacquer layer depth and light diffusion to create expressions with weight and depth. Tame-nuri involves applying vermillion lacquer in base coating, then layering multiple coats of transparent black lacquer (tame lacquer), creating unique deep crimson brilliance as light passes through layers and reflects internally.
This beauty that changes expression according to angle and light source elevates lacquerware from “viewing tools” to “displaying art.” Meanwhile, nashiji finish involves sprinkling gold or silver powder into lacquer, then layering transparent lacquer to cover the powder, creating particle-textured surfaces that softly reflect and diffuse light.
This technique can be combined with maki-e and chinkin to achieve gorgeousness while maintaining elegance. Both techniques have finishes greatly affected by layer numbers, lacquer transparency, powder size and sprinkling methods, and final polishing degree, making them advanced Kyushitsu techniques that test craftsmen’s experience and aesthetic consciousness.
Conclusion
Kyushitsu (Japanese Lacquerware) is a traditional technique that creates lacquerware combining durability and beauty through repeatedly layering coating, sanding, and polishing processes. Finish variations are diverse, from hana-nuri that eliminates brush marks to achieve mirror finishes, shunkei-nuri and kijiro-nuri that show wood grain through transparency to utilize material beauty, to tame-nuri and nashiji finish that reflect and diffuse light within layers to create depth expression, strongly reflecting regional culture and aesthetic consciousness.
These techniques are not merely decorative but also possess the charm of “growing vessels” that increase in luster and flavor with use and are beloved through long-term care and maintenance. Kyushitsu truly embodies the essence of traditional crafts, representing cultural heritage where natural materials, craftsmanship, and user time unite to deepen value.
