VOL.202 APRIL 2025
ENJOYING JAPANESE SAKE, NIHONSHU [Treasures of Japanese Culture] Limitless Expressions with Lacquer — Techniques of Lacquerware Craftsmanship

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Suzanne practices the maki-e technique, where patterns are drawn with lacquer and gold powder is sprinkled using a fine hollow reed .
Photo: ISHIZAWA Yoji

Suzanne Ross, a lacquer artist active in Ishikawa Prefecture, combines traditional craft Wajima lacquerware¹ (Wajima Nuri²) techniques with her own original methods, pushing the boundaries of Japanese lacquer (urushi)³. In this article, she shares insights into various lacquering techniques.

The appeal of Wajima lacquerware lies not only in its glossy black and red finishes and its durability but also in its ability to convey a wide range of artistic expressions. Crafted through 124 distinct processes, Wajima lacquerware is usually produced through a specialized division of labor. These processes can be broadly categorized into the creation of the wooden base, undercoating, topcoating, polishing and decoration. In this article, we will introduce several techniques that elevate the beauty of Wajima lacquerware.

There are two primary finishing techniques: nuritate and roiro. Nuritate involves applying lacquer and leaving it untouched, resulting in a soft, subtle shine. In contrast, roiro requires sanding the lacquered surface with charcoal, then repeatedly rubbing lacquer into the surface and polishing until it achieves a high-gloss, mirror-like finish with a deep luster.

The decorating techniques are called kashoku, which enhances the piece with a beautiful array of colours and textures. One such method is chinkin, in which lines are carved into the surface with specialized tools, then filled with lacquer, gold powder, or pigments to create intricate designs. Chinkin is a distinctive technique unique to Wajima lacquerware.

Another technique is maki-e, which encompasses various methods. One involves painting designs directly with a brush using lacquer, while another consists of using lacquer to paint patterns on the surface of an object, then sprinkling gold or silver powder from a fine tube made from a reed called a funzutsu (see photo) onto the patterns. Afterward, additional lacquer is applied, and the surface is sanded with charcoal to reveal the design. This technique also allows for adding materials such as seashells, eggshell, gold and silver foils to be inlaid followed by further lacquer layers and polishing to enhance the decoration.

Another technique is takamaki-e, in which lacquer is applied in several coats to the design to create a three-dimensional effect. This method allows for the representation of objects such as rocks, trees, stones, and flower petals in a sculptural, three-dimensional way. Urushi enables a great variety of expressions because of its transparency. In my works, I sometimes use the maki-e techniques to decorate the design and then apply a transparent lacquer coating on top to create a deep, multilayers effect.

At the same time, expressing the color white with lacquer is challenging. This is because when white pigment is mixed with lacquer (which although transparent is tinted brown), it typically results in ivory or beige tones. To achieve true white, quail eggshells are used. About one in every hundred quail eggs is pure white, so it’s like a treasure hunt. Once I find one, I remove the thin membranes inside the egg and paste the eggshell on the surface of an object to create a true white color.

Through its long history, lacquerware and lacquer craftsmanship have preserved a wide range of decorative techniques. For this reason, I believe that anything can be expressed with lacquer. Exploring these possibilities is truly fascinating, and I look forward to continually challenging myself to discover new and unique methods of expression.

Suzanne Ross
Originally from London, United Kingdom, Suzanne Ross now resides in Kanazawa City, Ishikawa Prefecture. She first encountered Japanese lacquer at an Edo-period art exhibition at The Royal Academy of Art in London and moved to Japan in 1984 to master the lacquer craft. She trained under Living National Treasures and honed her skills over the years while working in Wajima, Ishikawa Prefecture. However, after being affected by the 2024 Noto Peninsula earthquake, she relocated her workshop and gallery to Yuwaku Onsen, a hot spring area in Kanazawa City. She is dedicated to sharing the beauty of Japanese lacquer with the world.
Photo: ISHIZAWA Yoji
search: Suzanne Ross

• 1. This refers to items that are finished by applying lacquer.
• 2. Lacquerware produced in Wajima City, Ishikawa Prefecture. The production techniques developed during the Edo period (early 17th to mid-late 19th century).
• 3. A deciduous tall tree in the urushi family, cultivated in Japan for centuries.

By Suzanne Ross
Photo: ISHIZAWA Yoji

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