Chloe Zhang
Japanese lacquerware is a traditional craft that dates back to the Jomon period, approximately 14,000 to 2,300 years ago. Lacquer, known as urushi in Japanese, is derived from the sap of the urushinoki or Japanese lacquer tree, and has been used to decorate a wide range of objects, from Buddha statues and bento boxes to ceramics and furniture. While the process of creating lacquerware is time-consuming and often involves skilled artisans, one distinctive characteristic of Japanese lacquerware is the use of maki-e, a decoration technique where metal powder is sprinkled onto the lacquer surface to create intricate designs. Today, we will be discussing how to identify plastic Japanese lacquer and exploring the rich history and techniques behind this unique craft.
| Characteristics | Values |
|---|---|
| History | Japanese lacquerware dates back to 5000 BC during the Jomon period. |
| Origin | The lacquer is made from the sap of the Japanese lacquer tree (native to China and India). |
| Other Names | Urushi, shikki, nurimono, urushi-nuri, Japanning, maque. |
| Uses | Applied to a variety of materials, especially wood, basketry, leather, metal, glass, fabrics, plastics, etc. |
| Appearance | Hard, shiny finish. |
| Techniques | Maki-e, mitsuda-e, kamakurabori, hira maki-e, taka maki-e, shishiai-togidashi maki-e, sensu-jibiki, shudame-nuri, koma-nuri, usubiki. |
| Regions | Ishikawa Prefecture, Toyama Prefecture, Kyoto, Osaka. |
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What You'll Learn
History of Japanese lacquerware
Japanese lacquerware, or shikki, is a craft that involves painting paper or wooden items with urushi, or lacquer, derived from tree resin. Lacquerware has been used in Japan for thousands of years, with evidence of its use during the Jomon period, anywhere from 12,600 to 2,300 years ago. During the Jomon period, lacquer was primarily used as an antiseptic or adhesive, but over time, it became a staple in the creation of both functional and decorative items.
In the Heian period (794–1185), various maki-e techniques, which involve sprinkling metal powder on lacquer, were developed. This method of decoration was unique to Japan and expanded artistic expression in the country. During the Kamakura period (1185–1333), carved lacquer from the Song dynasty of China was imported to Japan, but Japanese craftsmen did not adopt the Chinese method of depositing lacquer and then carving it. Instead, they created Kamakurabori, a method of carving wood and then coating it with lacquer.
In the Muromachi period (1336–1573), shishiai-togidashi maki-e, the most complicated of the typical maki-e techniques, was developed. Japanese lacquerware was also abundantly exported to neighbouring East Asia, Southeast Asia, and even India during this time. By the 16th century, lacquerware exports had increased significantly, and by the 19th century, lacquer was referred to as 'Japan' by the British, similar to how ceramic is still referred to as 'china'.
During the Edo period (1603-1868), lacquerware received a lot of attention and developed into a complete form of art. Inro, small medicine containers decorated with lacquer, became popular as men's accessories, with wealthy merchants and samurai collecting them. Lacquerware became so popular that it attracted European aristocrats and missionaries, who requested western-style chests and church furniture.
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Lacquerware production process
Lacquerware is a Japanese craft that has been used in a wide range of fine and decorative arts, from prints and Buddha statues to bento boxes. The process of making lacquerware involves several steps, requiring meticulous care and craftsmanship. Here is a detailed overview of the lacquerware production process:
Selecting the Base Material
The first step in the lacquerware production process is selecting the base material. Traditionally, lacquerware is applied to wooden items, but it can also be used on metal, glass, fabrics, and even plastics. Artisans choose the appropriate material based on the intended use and design of the final product.
Shaping the Base
Once the base material is selected, it is shaped into the desired form. This involves milling or carving the wood to create the desired shape, such as bowls or multi-tiered food boxes. Artisans with specialized skills and experience perform this step to ensure the precision and quality of the shaping process.
Applying the Lacquer
The lacquer, or "urushi," is then applied to the surface of the shaped base material. Lacquer is a natural resin made from the highly toxic sap of the Rhus verniciflua tree, also known as the Japanese lacquer tree or Japanese sumac. The raw lacquer is collected by extracting the viscous sap from the trees and gently heating it to remove excess moisture and impurities. Artisans apply multiple layers of lacquer, typically six to eight coats, to ensure a smooth and consistent finish.
Decorating the Lacquer
After the lacquer has been applied and dried, the decoration process begins. This is a critical step that requires a steady hand and attention to detail. Artisans use various techniques to decorate the lacquer surface, such as sprinkling metal powder (known as "maki-e"), etching designs and filling them with gold or other materials (an Aizu technique), or applying gold/silver leaf. The decoration techniques add a unique and exquisite touch to the lacquerware, enhancing its beauty and value.
Polishing and Finishing
Finally, the lacquerware is polished to a high gloss, bringing out the depth and brilliance of the colours. This final polishing step is crucial in determining the quality of the piece. Artisans meticulously sand and smoothen the surface, removing any imperfections and ensuring a smooth and shiny finish. This step may be repeated several times to achieve the desired level of shine and smoothness.
It is worth noting that the production of lacquerware is a time-consuming and intricate process, requiring specialized skills and knowledge passed down through generations. The process described above may vary slightly depending on the specific techniques and styles used in different regions of Japan, such as Wajima-nuri, Yamanaka lacquerware, and Aizu wares.
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Lacquerware identification
Lacquerware is a Japanese craft with a wide range of fine and decorative arts. Lacquer is derived from the sap of the urushinoki, or the Japanese lacquer tree, and has been used in Japan since the Jomon period, anywhere from 7,000 to 15,000 years ago. Lacquerware is typically coated with three layers of lacquer, made from poison oak sap, or urushi, that forms a hard, smooth, waterproof surface layer.
When identifying lacquerware, it is important to note the different types of lacquerware and their unique characteristics. Here are some tips to help you identify lacquerware:
- Wajima-nuri: This style of lacquerware is famous for its durable undercoating over zelkova wood. It is characterised by layers of urushi mixed with keisodo (diatomaceous earth) and is known for its rich designs and functionality.
- Yamanaka lacquerware: This style incorporates the use of inexpensive plastics and is known for its unique woodworking designs, such as sensu-jibiki, which features heavily ridged patterns. Other techniques include shudame-nuri, where lacquer is layered over a vermillion base, and koma-nuri, which features ringed patterns.
- Maki-e: This is a decoration technique unique to Japanese lacquerware, where metal, gold, silver, or copper powder is sprinkled onto the lacquer to create intricate designs.
- Mitsuda-e: This technique involves using perilla (shiso) oil with litharge as a desiccant to create paintings that resemble oil paintings.
- Kamakurabori: This method involves carving wood and then coating it with lacquer, rather than depositing lacquer and then carving it.
- Taka maki-e: This technique involves using grinding stones and clay powders to create intricate designs.
- Inro: These are small, compartmentalised containers decorated with lacquer and intricate designs, often featuring subjects from nature, classical literature, and scholarly pursuits. They were used to store medicines and other small items and were considered fashion accessories.
- Suziribako: These are boxes specifically used for writing tools such as ink slates, water droppers, and brushes.
When examining a piece of potential lacquerware, look for these distinctive characteristics and techniques to help identify its origin and style. Additionally, the presence of intricate patterns, rustic designs, or the use of plastic can also be indicative of Japanese lacquerware.
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Lacquerware artists and their styles
Japanese lacquerware, known as shikki, is a craft with a wide range of fine and decorative arts. The craft involves painting paper or wooden items with urushi, or lacquer, which is made from tree resin. Lacquerware artists in Japan have developed various styles and techniques over the centuries, with influences from China and Korea, as well as native stylistic innovations.
One notable style is Wajima-nuri, which originated in the Ishikawa Prefecture in the 15th century. Wajima-nuri is characterised by its durable undercoating over zelkova wood, made from layers of urushi mixed with keisodo (diatomaceous earth). Another style that emerged in Ishikawa Prefecture is Yamanaka-shikki, which includes sensu jibiki (heavily ridged woodworking designs), shudame-nuri (lacquer layered over a vermillion base), and koma-nuri (a unique ringed pattern resembling a Japanese spinning top).
During the Kamakura period (1185-1333), Japanese lacquer craftsmen developed Kamakurabori, a method of carving wood and then coating it with lacquer, rather than using the Chinese method of depositing and then carving lacquer. This period saw the development of new maki-e techniques, such as hira maki-e and taka maki-e. Maki-e is a decoration technique that involves sprinkling metal powder on lacquer to attach it.
In the Muromachi period (1336-1573), the most intricate maki-e technique, shishiai-togidashi maki-e, was developed, along with new taka maki-e techniques using grinding stones and clay powders. During this time, Japanese lacquerware gained popularity in East Asia, Southeast Asia, and India, and eventually Europe, with European aristocrats and missionaries commissioning Japanese artisans to decorate religious objects and furniture.
In the Edo period (1603-1868), lacquerware called Shibayama became popular for its extravagant style, inlaid with gold, silver, shellfish, ivory, coral, tortoise shell, and ceramics. Somada, another style that emerged in this period, featured regular patterns of finely cut seashells, gold leaf, and silver leaf. The government actively promoted Japan's lacquers and decorative arts at world's fairs, and Japanese lacquer was recognised as technically superior to that of any other country.
In Vietnam, the genre of lacquer painting is known as "son mai," and Vietnamese artists in the 1930s elevated the craft of lacquer painting to a fine art. Vietnamese lacquer paintings are created by first preparing a black board and then using colour chalks or needles to create a base sketch. Artists may apply up to ten or more layers of coloured and clear lacquer, with each layer requiring drying and polishing.
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Lacquerware art and design
One of the key characteristics of Japanese lacquerware is the use of urushi, a type of lacquer made from the sap of the Japanese lacquer tree (or Japanese sumac). The process of refining urushi is time-consuming, involving treating, dyeing, and drying the sap before applying it in multiple coats to form a smooth, waterproof surface. Urushi is known for its beautiful colour, sheen, and ability to enhance the durability of the items it coats.
The art of lacquerware in Japan is believed to have originated during the Jomon period, dating back as early as 14,000 to 300 BC. Initially, lacquer was used as an antiseptic or adhesive, but over time, it became an integral part of Japanese art and craftsmanship. Ancient lacquered pottery and other objects, including burial clothes, have been discovered in archaeological sites, highlighting the significance of lacquer in Jomon culture.
Throughout its history, Japanese lacquerware has been influenced by various cultural exchanges and innovations. During the Nara Period (710–784 AD), Japanese craftsmen adopted techniques from China, which then evolved uniquely in Japan. The Heian period (794–1185) saw the development of maki-e techniques, a hallmark of Japanese lacquerware, where metal powders such as gold, silver, or copper are sprinkled onto lacquer to create intricate designs.
The Kamakura period (1185–1333) witnessed the development of Kamakurabori, a distinct Japanese technique where wood is carved and then coated with lacquer, differing from the Chinese method of carving lacquer itself. The Muromachi period (1336–1573) further advanced lacquer techniques, with the creation of shishiai-togidashi maki-e, a complex and intricate form of maki-e.
Today, Japanese lacquerware continues to thrive, with various styles such as Wajima-nuri and Yamanaka lacquerware gaining recognition. Yamanaka lacquerware, in particular, has incorporated inexpensive plastics into its designs, attracting both domestic and international demand. Lacquerware has become a sought-after art form, with its unique feel, beauty, and functionality, making it a desirable collectible worldwide.
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Frequently asked questions
Japanese lacquerware is a traditional craft that dates back to 5000 BC during the Jomon period of Japanese prehistory. It involves coating various objects, such as wooden items, ceramics, and metal cutlery, with lacquer made from the sap of the Japanese lacquer tree.
Lacquer refers to a hard, often shiny finish that is applied to different materials, especially wood. The lacquer used in Japanese lacquerware, also known as urushi, is made from the sap of the Japanese lacquer tree (or urushinoki) and can be toxic until it dries.
Plastic Japanese lacquer, such as Yamanaka lacquerware, incorporates the use of inexpensive plastics along with traditional lacquer techniques. It is characterised by its rich designs and functionality, and can be found in various shapes, colours, and sizes.
One common technique is maki-e, which involves sprinkling lacquer with gold, silver, or copper powder to create intricate designs. Another technique is to draw a picture in the wet lacquer and then apply another layer of lacquer on top before filing it down to reveal the design.
Japanese lacquerware can be found in a variety of forms, including boxes, tea sets, vases, furniture, prints, and statues. Some specific examples include the Tamamushi Shrine from the 7th century AD and various lacquered boxes from the Edo period.
