What is lacquer?

Lacquer is a shiny film that is applied to materials to form a hard protective coating. Modern lacquers are derived synthetically, and are used to protect and waterproof a wide variety of everyday objects, such as paper and furniture.

Traditionally, however, lacquer is extracted in East Asia from the lacquer tree. The tree is scored, and the sap that oozes from these cuts is harvested, much like syrup from a maple tree. This natural lacquer hardens as it dries, forming a tough coating that ensures the lacquered product can be used for a long time.

Lacquerware in Japan

The lacquerware industry has a long history in Japan. Originally, simple everyday objects were lacquered to provide durability and long life. Eventually, lacquerware developed over the centuries into a highly sophisticated art form, requiring years of training and apprenticeship to master.

The traditional techniques for producing lacquerware are handed down from generation to generation, however the process is far from static. The lacquerware craft continues to evolve as each artist lends his own techniques and creativity to the process.

Wajima-nuri ? The Essence of Japanese Lacquerware

Wajima is a town in Ishikawa prefecture on the west coast of Japan that is particularly noted for its durable and decorative lacquerware. Wajima-nuri (Wajima lacquerware) is unique in its use of a finely powdered mineral, “tonoko,” which is only found in the area and is added to the lacquer to create an exceptionally strong coating. Wajima is famous throughout Japan for this lacquerware, and a large proportion of the city's population is employed in the lacquerware industry. Wajima-nuri is designated a National Intangible Cultural Property.

The kanshitsu technique

Shoichi Ikegami is a lacquerware artist living in Wajima who uses a particular technique called kanshitsu.

Lacquer is commonly applied to a carved wooden base, such as a bowl or tray. However, the kanshitsu technique uses a basic template - made from gypsum, clay or papier mache ? only as a mold for the lacquer.

The production process begins with the design and creation of the desired mold. A layer of coarse-grade laquer is then applied to the mold, and it is covered with linen. This is repeated until there are several layers of lacquer and linen covering the mold. The piece is left to dry for about a week, then the mold is dissolved in water, leaving only a hard shell of lacquered linen.

Unlike lacquerware made from carved wood, the design of kanshitsu objects is limited only by the artist's imagination. Kanshitsu pieces are extremely light and thin, allowing delicate shapes and a greater variety of unique designs.

Once the desired shape is achieved, the time-consuming lacquering and polishing process begins. At this stage, the finely ground mineral “tonoko” is added to the lacquer and applied for extra strength. Once this rough layer has been dried and polished, several more finer layers of lacquer are applied. This is a time-consuming process, as each layer of lacquer must be allowed to dry thoroughly before it is polished with a mixture of charcoal and water, and the next layer of lacquer can be applied. The final layer is an even finer grade of lacquer, which is polished to a rich shine. Traditionally, lacquer is either black or red, but almost any colour can be achieved by adding pigments.

At this point, the lacquerware can be considered a finished product. However, the lacquerware may also be enhanced with an artwork.

Adding artwork to the lacquerware

There are two principal methods for adding a design to lacquerware: chinkin and maki-e.

Chinkin involves carving a design into the lacquerware, filling the grooves with wet lacquer, then rubbing in gold dust or some other finely ground material. Once the excess dust is wiped away, only the design remains.

When adding a design with maki-e the artist paints directly onto the lacquerware with wet lacquer, then sprinkles fine dust on it. This creates a slightly raised design, giving the smooth lacquered surface some texture. Another decorative technique involves inlaying pieces of mother of pearl.

Traditional designs include auspicious motifs from nature. Each motif is linked with a particular season or event. For example, the pine tree and crane symbolise longevity; the cherry blossom is the symbol of Spring and change, while a folding fan spread open means the future will bring expanded fortune and opportunity.

Final Touches

Once the artwork is complete, the entire object is again polished with charcoal and covered with an epoxy mixture. When this has dried, the artwork is polished with a mixture of oil and tonoko. This is followed by further polishing with charcoal dipped in water, then once more with oil and tonoko. The process is repeated until the artist is satisfied with the degree of luster achieved.

Shoichi