The Language of Urushi

The first step in datsu-kanshitsu is to sculpt a base form out of clay. Hemp cloth is layered over it using nori urushi (urushi mixed with rice glue) as an adhesive, building up the structure coat by coat — typically 14 to 15 layers. After hardening in a humidity-controlled chamber, the clay inside is carefully scraped out, leaving a hollow, lightweight shell. The interior is reinforced with sabi urushi (urushi mixed with fine stone powder), followed by the standard lacquering process. This method was brought to Japan from China during the Nara period (8th century) and was widely used for Buddhist statues, including the Ashura figure at Kōfuku-ji Temple. The finished pieces are both strong and significantly lighter than solid wood.

Styrofoam kanshitsu is a modern adaptation of the traditional datsu-kanshitsu method. Instead of sculpting a clay form and later removing it, the artist wraps urushi-soaked hemp cloth directly around a lightweight styrofoam core — which remains inside the finished piece. The result is similar in appearance and lightness to traditional dry lacquer, but the production process is faster. This adaptation makes the kanshitsu technique more accessible for contemporary lacquer art and functional objects, while preserving the essential layering principles of classical Japanese lacquerwork.

Most urushi hardens naturally at room temperature in humid conditions, but yakitsuke-urushi takes a different approach: the lacquer is heated to 120°C or above. At these temperatures, humidity is not required, and the urushi bonds to the surface in a shorter time. The resulting coating is harder and more adhesive than one cured at room temperature, making it well suited for metal and ceramic surfaces such as iron kettles and copperware. This technique is typically used as the very first coating applied directly onto the metal or ceramic, forming a durable foundation for subsequent lacquer layers.

Kawari-nuri is not a single technique, but rather a broad family of creative lacquering methods that produce distinctive surface patterns. One well-known example is Tsugaru-nuri's kara-nuri, which creates a speckled pattern. Using a handmade spatula called a Shikakebera, the artist dabs colored urushi onto the surface, forming small raised dots. Cotton or cloth may also be pressed into the wet urushi to create texture. After drying for seven to ten days, additional layers of colored urushi are applied, dried, and polished away — a cycle repeated multiple times. With each successive polishing, the dots from earlier stages reappear through the newer layers, producing a pattern with depth and complexity. Each region of Japan has its own tradition of kawari-nuri — Tsugaru-nuri is from Aomori, and Wakasa-nuri is from Fukui. Because urushi reacts differently depending on temperature and humidity, no two surfaces are ever exactly the same.

In haku-e, a design is drawn in wet urushi onto the lacquered surface, and thin sheets of gold or silver foil are placed over it. The foil adheres to the areas where the urushi has been applied. Once dried, the excess foil is gently wiped away using soft cotton, leaving the foil only on the painted design. The result is a clean, flat metallic pattern on the lacquer surface. Unlike maki-e, which builds designs from scattered powder and produces a softer sparkle, haku-e uses solid sheets of foil, giving the finished design a bold, graphic quality with a smooth metallic surface.

Hira maki-e is one of the three fundamental types of maki-e, along with togidashi maki-e (polished-out maki-e) and takamaki-e (high relief maki-e). The artist paints a design in wet urushi on a finished lacquer surface. Before it dries, fine metal powder — typically gold or silver — is sprinkled over the design. After hardening, a thin coat of urushi is rubbed over the powder by hand to fix it in place, and the powdered areas are polished to bring out the metallic luster. The finished design sits flat and smooth against the surrounding surface. Hira maki-e is also the decoration technique used to adorn the restored portions in kintsugi.

Nashiji creates a warm, speckled surface that resembles the skin of a Japanese nashi pear — which is how it gets its name. The artist scatters fine flakes of metal powder over a coat of urushi, then seals them beneath layers of transparent lacquer. The metal flakes settle at varying depths within the lacquer, catching light from different angles and producing a sense of soft, glowing depth. Over time, the transparent urushi layers gradually become more clear, allowing the metallic luster beneath to grow more vivid — a quality that makes nashiji pieces change in character as they age.

In raden, thin pieces of shell — most commonly abalone, turban shell, or freshwater pearl — are cut into shapes and set into a lacquer surface. The shell pieces are placed onto a base coat of urushi and then covered with several additional layers. Once the lacquer has hardened, the surface is carefully polished with charcoal until the shell reappears, then finished to a smooth, level surface. The natural layered structure of the shell splits light into shifting colors — blue, green, pink, and purple — an effect known as iridescence. Raden has been practiced across East Asia for over a thousand years.

In urushi-e, urushi itself is used as paint. Pigments are mixed into transparent urushi to create colored lacquer called iro urushi, which the artist applies freehand with fine brushes directly onto the prepared surface. Unlike maki-e, which creates designs by sprinkling metal powder, or chinkin, which carves patterns into the surface, urushi-e is characterized by its painterly quality — the artist builds up images through brushwork alone. The technique allows for fine detail and smooth gradations of color, and is considered one of the oldest decorative methods in the Japanese lacquer tradition.

Roiro-migaki is a multi-stage polishing process used to achieve a deep, mirror-like lacquer finish. First, any imperfections in the hardened lacquer surface are removed by smoothing it with charcoal and water. Then, oil-free, transparent urushi lacquer is thinly applied to the surface. After it hardens, the surface is polished again using progressively finer abrasive powders and rapeseed oil applied with the artist's fingertips and palm. This cycle of coating and polishing is repeated until a deep, wet-looking gloss appears that is smooth enough to reflect the surrounding scenery like a mirror. Most of our kintsugi pieces are finished using this high skilled method.

Taiki-migaki is a polishing technique that uses the teeth of a madai, sea bream. The teeth are taken from boiled sea bream, sorted by size and sharpness, and attached to a stick to make a burnishing tool. This tool is used to polish gold, silver, and other metal surfaces in maki-e and kintsugi, producing a rich luster. While roiro-migaki produces a smooth, even sheen across the entire surface, taiki-migaki is better suited for polishing detailed metallic areas, giving the gold and silver portions of the finished piece a warm, soft glow.