Kiso lacquerware~木曽漆器


The former Narakawa village (Shiojiri city) which is the home of Kiso lacquer ware is located at the entrance north of Nakasendo (current · National Highway No. 19) penetrating the Kiso Valley, and it is located in the altitude of about 900 meters above sea level. For this reason, the unique climate that cool in the summer is cool and cold in the winter is good for the working environment to paint the lacquer, the nature-rich big forest grows the good materials and the main road goes through in terms of traffic as well It is blessed with a good environment and spending 400 years remaining time, our predecessors have gone through trial and error to leave brilliant results and inherit it and have reached today.
The reason why Kiso lacquer ware named to the whole country is in "rust soil" discovered from the locals in the early Meiji era. This rust soil contained a lot of iron and it was possible to make a robust lacquerware. It is because always good products were always there and craftsmen's skills also made a product that was durable and easy to use with the maturity phase in mind. Currently, three techniques of Kiso Shunkei and Kiso Tsuyu , Pain Lu Color Painting (Nuriwakero Ironuri) developed by the former people are specified as traditional crafts of the Ministry of Economy, Trade and Industry It has been handed down to many artisans. In addition to these techniques various challenges are being made. Kiso lacquerware which is suitable for various fields and modern lifestyle, mainly young craftsmen, is also produced.

Production process

About lacquer

A lacquered tree is the plant that tree in itself is relatively weak in Takagi (10m - around 20m) of a deciduous tree belonging to cashew family. When it is autumn, the leaf becomes bright red. Sap secretes it when I damage a tree trunk of the lacquer. This liquid "is so-called lacquer". The lacquer is gathered mainly over from June to November. In addition, it is serious valuables and a done reason because I can gather only annual 60g - around 250 g from one tree. The lacquer is gathered in Japan, but there is just a little quantity of collection. A product (domestic average in particular) in Asia is used mainly now.
There were two functions to the lacquer and has been made use for human life from old days. Adhesive, the other are work as the paint one. When the lacquer performs desiccation once, I am strong in acid and alkali and am superior in waterproofing, water resistance.
Kiso Tsuishu
It is representative technique of the Kiso lacquerware. I fully use the lacquer to do "printing" (design pickles) using Tanpo where I soaked with a good lacquer, and to be done printing, and to paint the rough aspect that it was possible for with lacquer many times (normal 12 times - 18 times), and to repeat it. If the surface levels out it, the unique design that resembled the annual ring of the tree by polishing the mask which I painted with in water paper and a whetstone appears. There is the color in various ways now, too.
A representative thing: Tatami-room table, tray, saucer for a teacup, cake bowl, tea platform, weaning ceremony, vase.
Nuriwakero Ironuri
 After coating reason worked using purified lacquer of the having many kinds after performing the polishing the dried lacquered surface by the whetstone, and having put "Jinuri, Naka-nuri" and unique middle coating to call in the Kiso area, I drain water while polishing it and I finish it with a coat of it and polish it with powder of soft charcoal after drying and I mix rapeseed oil and dust with the powder of the staghorn more and polish it carefully and finish it. The keen-edged lacquer place can watch the art of the highest rank of the japanner like a mirror surface.
A representative thing: Tatami-room table, Ro-en, nest of boxes, cake bowl, display case
Kiso Shunkei
natural dried raw wood (conifer) in a straight-grained board with exclusive knives (Hegi-knife) and I print unrefined varnish many times and am crowded with light pink-colored color lacquer after changing color, and having done it. Finally the beauty of the straight-grained board to have of the bare wood stands out to paint with lacquer for Shunkei having high transparency, and to finish it.
A representative thing: Lunch box, side bamboo steamer, japanned pail for hot water, glass, tray, nest of boxes, flat dish
I do the filler which polished up the bare wood such as a zelkova or Magnolia obovata, a horse chestnut, the cherry tree enough more and I repeat what I wipe when I wipe it when a cortex is transparent and paints with unrefined varnish several times or I paint and finish it. Because groundwork coating is omitted, it is the technique that warm taste reaches with simplicity to have of the grain of wood.
A representative thing: Furniture, writing desk, tray, large lid, kotatsu board, small drawer.
 It is the technique that I come with the design of gold and silver incised on fascinating lacquerware from China in the Muromachi era, and developed. After being shallow, and a ditch carving a picture and a design with a lacquer inlaid with gold sword, and doing it, and having pushed gold leaf, gold dust into the surface performed lacquering of before I touch unrefined varnish and drain dry, I wipe off an extra part and finish it. It may be said that the pattern which rose by the technique that began with the minute movement of the lacquer inlaid with gold sword three-dimensionally is the biggest charm of the lacquer inlaid with gold.
A representative thing: Tatami-room table, screen, screen, panel, nest of boxes, inkstone case, library.
As for one of the reasons that became before a Japanese japanner is appreciated as art to represent the world, it is said to the elegant, delicate golden brightness that the lacquer work draws that there is it. It is the technique that the technique of the highest grade to draw a picture and a design with lacquer, and to sow gold dust and silver dust, a color in the top, and to finish is required. Lacquer work has many technique such as Hira-makie, Togidashi-makie, Shishiai-togidashi-makie, takamakie.
A representative thing: Tatami-room table, screen, screen, display case, nest of boxes, inkstone case, library.
Color lacquer such as vermilion lacquer or the yellow lacquer is painted the bare wood that a groundwork process was given with at a halfway stage and finish it in the state that I painted with lacquer transparent last. I may be called Beni-dame, Ki-dame by lower color lacquer and it is deep on the groundwork and is transparent lacquer letting repeated coloring rise vividly.
A representative thing: A tray, a flower level, nest of boxes, library a wooden bowl, a meal limit.
I break a mandarin orange in suitable thickness and do the straight-grained board board of the Kiso hinoki and bend it to a circle and the oval after boiling it with boiling water to make it easy to process it, and softening bare wood and seam it together with the bark of the wild cherry tree (Kamba). Finally I paint with lacquer after fitting soleplate and finish it.
A representative thing: Side bamboo steamer, lunch box, ladle, sushi plate.
Straw-rope pattern lacquerware, Negoro coating, sumi Shunkei lacquering, Hegi eyes technique, sculpture, black hinoki, concrete facing carving, dragon treasure, mother-of-pearl.



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