Kyoto Lacquerware

Perhaps the most prominent characteristic of Kyoto lacquerware is that it is crafted from ultra-thin wood. Artisans sand down the wood down to the greatest extent possible, rendering it paper-thin. This wood core is the secret behind the slim elegance of Kyoto lacquers, despite multiple applications of the base coats, mid-coats, and outer coats of lacquer. In spite of such remarkably thin wood substrates, Kyoto lacquers are extremely durable.

Zōhiko is a leading Kyoto lacquerware establishment. Boasting an epic history, the company got its start in Kyoto in the year 1661 as a Chinese import goods shop called Zōgeya (literally, “ivory shop”). Later, Nishimura Hikobei I, who apprenticed at the shop, took over the helm in 1731 after the demise of his master’s family, at which time it became known as “Zōgeya Hikobei.” An old illustration of the store shows large red lacquer nested sake cups on exhibit at the far right in front. A forerunner of the window display, this exhibit undoubtedly made quite an impression.

 

Hikobei VIII delved heavily into laquerware technology, creating a vast array of well-known works from the end of the Meiji period (1868–1912) through the early Shōwa period (1926–1989). His works were featured in world expositions as well as in national industrial fairs, winning prizes along the way. Zōhiko grew dramatically with the patronage of the Imperial Household Ministry as well as that of the Mitsui and Sumitomo families, amongst others. In 1926, Zōhiko established the Kyoto Makie Art School to train successors.

 

Zōhiko lacquerware is richly decorated with makie, a lacquer decoration technique in which patterns are made using gold or silver powder sprinkled onto wet lacquer. Makie is a representative technique of Kyoto-style lacquerware. In the takamakie (high relief makie) technique, a pattern is created in relief with lacquer, carbon dust, and sabi-shitaji, which is a mixture of lacquer and tonoko (burnt clay dust), followed by sprinkling of the metallic powder to yield a three-dimensional effect. In the hiramakie (flat makie) technique, meanwhile, a pattern is drawn with lacquer, upon which makie metallic powder is sprinkled and then mixed with the lacquer to harden. This technique is finished with polishing. The kirikane (cut metals) technique involves cutting small, thin pieces of fine sheet metals such as silver and gold and pressing them onto the piece. The many other kinds of makie techniques include nashiji ("pearskin" ground), kanagai (inlaid mother of pearl), tsukegaki (makie lines over a makie ground), and kimetsuke, which features inlaid metallic decorations on the relief areas of takamakie.

This photo of a Zōhiko workshop built in 1918 shows some of the many craftsmen who worked here, including makie and lacquer coating specialists, in the midst of the production process. Zōhiko retains many pamphlets and other printed materials from this period of time, allowing us a glimpse of how the work was done. At present, the company employs a division-of-labor system whereby Zōhiko places separate orders with woodwork artists, lacquer coating artists, makie artists, and more. Orders for Kyoto lacquerware include many lacquers implements used in cultural activities as well as special commissions. Designs are devised in-house in accordance with specifications, along with strict inspection at each of the different stages.

Kyoto lacquerware is rendered durable with multiple coats of base coats, mid-coats, and top coats, with inspections performed using a strict checklist at each stage. For the final inspection, each makie piece is checked for subtle unevenness in coating, brush stroke prints, tiny pieces of dust, and more.

During our interview, Zohiko President Tsuyoshi Nishimura remarked, “Zohiko never loses sight of new possibilities for Kyoto lacquerware. This lacquerware is of extremely high quality, but one must use it to truly get a sense of that quality. In particular it is a critical component of the Japanese food experience. It is a unique part of Japanese culinary culture that the user actually touches their lips to the bowl, which means the texture of the lacquerware must consider this fact. Yet lacquerware is ideal not only for food but also for taking in the delicate flavors of Japanese sake. Additionally, we offer seasonal themes, in accordance with the Japanese people’s inherent aesthetic sense surrounding the four seasons. Even as the traditional tokonoma (traditional alcove) becomes less popular, simply having a seasonal decoration at the door imbues the space with a uniquely Japanese touch. Our goal is not only to carry out successful collaborative projects with overseas partners, but also to convey the special beauty of Japanese culture in general and Kyoto lacquerware in particular to the world.”