Aizu-nuri is lacquerware handed down mainly in Aizuwakamatsu City, Fukushima Prefecture, and is a Traditional Craft Designated by the Minister of Economy, Trade and Industry. It is said to have taken firm root in 1590 (Tensho 18), when Gamō Ujisato, who became lord of Aizu, encouraged lacquer craftsmanship to promote local industry, giving it a history spanning more than 400 years. A defining feature is that wood-base craftsmen, lacquerers, and maki-e artists each handle their own specialized process in a division of labor, and it is distinctively Aizu that lacquerers themselves are further divided between round pieces (such as bowls) and flat pieces (such as tiered boxes). During domain reforms in the mid-Edo period, new decorative techniques such as keshifun maki-e were introduced, and a wide range of techniques -- including mother-of-pearl inlay, lacquer painting, dry lacquer, and chinkin -- continue to be passed down today. The craft's appeal lies in its lavish decoration using auspicious motifs such as cranes, turtles, and pine-bamboo-plum, combined with the warm luster of hana-nuri (an unpolished final coat), and it is used to make a wide range of products from bowls and tiered boxes to contemporary accessories.
Origin
Lacquer craftsmanship is said to have taken firm root in Aizu in 1590 (Tensho 18), when Gamō Ujisato, who became lord of Aizu by order of Toyotomi Hideyoshi, encouraged lacquerwork as a local industry. Ujisato invited wood-base and lacquer craftsmen from his home region of Hino in Omi, laying the foundations for lacquerware production that made use of Aizu's abundant lacquer sap and timber resources such as beech and horse chestnut.
History
During domain reforms in the mid-Edo period (the Kansei Reforms), new decorative techniques such as keshifun maki-e were introduced, establishing the style of Aizu lacquerware seen today. The industry developed throughout the Edo period under the protection of the Aizu domain, but during the Boshin War at the end of the shogunate, the town of Aizuwakamatsu was engulfed in fighting, and the craft suffered the loss of many artisans and tools. Even so, techniques were passed down through the hands of craftspeople, and production continues to this day under a division-of-labor system covering wood-base making, lacquering, and decoration.
Features
A defining characteristic is that the wood base, lacquering, and decoration (maki-e, chinkin, and more) are each handled by specialized craftspeople working in a division of labor. Lacquerers themselves specialize in either round pieces such as bowls or flat pieces such as tiered boxes, and the wood base is made from materials such as horse chestnut, zelkova, magnolia, and cherry. The craft centers on hana-nuri, a somewhat thick final coat left unpolished, and expresses auspicious motifs such as cranes and turtles or pine-bamboo-plum through a range of decorative techniques including keshifun maki-e and chinkin carved with knives unique to Aizu.
Techniques
Keshifun Maki-e
A decorative technique in which patterns are drawn in lacquer, then gold or silver keshifun (fine powder) is sprinkled on and polished to reveal the design. Introduced during domain reforms in the mid-Edo period, it forms the core of Aizu lacquerware decoration.
Chinkin (Gold Inlay Engraving)
A technique in which patterns are carved shallowly into a lacquered surface with a blade, and gold leaf or gold powder is rubbed into the grooves. Shallow carving with knives unique to Aizu produces a soft, gentle finish.
Hana-nuri (Unpolished Final Coat)
A technique in which the final coat of lacquer is left unpolished after application, preserving its natural luster. Applying the coat somewhat thickly creates a warm, soft texture.
Materials Used
Production Process
- 1
Wood Base Making
Wood such as horse chestnut or zelkova is cut and shaped into the form of bowls, tiered boxes, and other vessels.
- 2
Undercoating
Lacquer and cloth are applied to the wood base as an undercoat, preventing warping and cracking.
- 3
Mid-Coating and Final Coating
Lacquer is applied in repeated layers, with polishing in between, to build up and refine the coating.
- 4
Decoration
Maki-e, chinkin, and other techniques are used to add motifs such as pine-bamboo-plum or cranes and turtles.
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Artisans & Workshops
会津塗伝承館 鈴善
A long-established lacquerware shop founded in 1832 (Tenpo 3). Housed in a complex of converted storehouses, it includes a heritage hall introducing the history of Aizu lacquerware, an art hall, a shop hall selling lacquerware, and an experience hall.
Official site →白木屋漆器店
A long-established shop with over 300 years of history, specializing in the manufacture and sale of genuine wood-based lacquerware. It handles a wide range of products, from bowls and tiered boxes to interior items such as maki-e panels, and also offers semi-custom services such as adding names or characters.
Official site →How to Buy
- Aizu Lacquerware Heritage Hall Suzuzen - Lacquerware Hall
- Suzuzen's shop located in central Aizuwakamatsu City. Visitors can purchase a wide range of Aizu lacquerware, from traditional bowls and tiered boxes to everyday tableware.Where to buy →PR
- Shirokiya Lacquerware Shop
- A long-established lacquerware shop in Omachi, Aizuwakamatsu City. It sells a wide variety of Aizu lacquerware products, including tableware, sake vessels, and interior items, also through its online shop.Where to buy →PR
Hands-on Experiences
会津塗伝承館 鈴善 体験蔵
福島県会津若松市中央1-3-28
Reservation required (minimum 2 people for general visitors). The maki-e experience starts at around 3,500 yen each for a small plate or hand mirror, and around 5,000 yen each for a wooden lacquered soup bowl or sake cup; takes about 1 hour.
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