VOL.201 MARCH 2025
Traditional knowledge and skills of sake-making with koji mold in Japan [Treasures of Japanese Culture] A Life Captivated by Wajima Nuri, Japan’s Traditional Lacquerware

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An example of Wajima Nuri.
Photo: ISHIZAWA Yoji

Suzanne Ross, a lacquer artist from the United Kingdom based in Ishikawa Prefecture, first encountered a masterpiece made with Japanese lacquer (urushi)¹ at The Royal Academy of Art in London. This experience inspired her to come to Japan at the age of 22 to study lacquer art. For many years, she created works in Wajima City, Ishikawa Prefecture. We spoke with Suzanne about her lifelong fascination with Japanese lacquer and the traditional craft of Wajima lacquerware² (Wajima Nuri³) that continues to captivate her.

I first came across Japanese lacquerware at an exhibition of masterpieces from the Edo period (early 17th to mid-late 19th century) held at a museum in London. I was instantly captivated by a beautiful piece that showcased the deep black unique to lacquer and, the soft, glowing gold and shell inlay. Later, I learned that it was a masterpiece by one of the greatest figures in Japanese art history, OGATA Korin⁴, specifically an inkstone box (suzuribako⁵). After that, I felt a strong desire to learn more about Japanese lacquerware, so I decided to head to Japan. At that time, it was difficult to find information about lacquer in the United Kingdom, and I thought that spending around three months in Japan would be enough to master lacquerware techniques—but I was sorely mistaken. Forty years have passed since I came to Japan, and I am still pursuing the potential of lacquer.

Japan has traditional lacquerware craftsmanship in various regions, and one of the most famous is Wajima Nuri, which has a 500-year history in Ishikawa Prefecture. After coming to Japan, I consulted with local people about learning the best lacquerware techniques, and many told me that Wajima Nuri is the best. I moved to Wajima and studied the traditional techniques of Wajima Nuri at the Ishikawa Prefectural Wajima Institute of Urushi Arts, learning from skilled artisans and Living National Treasures⁶. Wajima Nuri follows a division of labor system, with various specialists handling each step of the process, even for a single piece. I had plans to eventually create works in London, so over the course of more than ten years, I learned the techniques for all the stages of production and trained, man to man under a Living National Treasure. In 2000, I was able to hold my first solo exhibition.

In recent years, more international tourists have taken an interest in Wajima Nuri. One thing that often surprises visitors to my gallery is that Japan's lacquer culture has existed for over 9,000 years. Lacquerware is lightweight, durable, and highly resistant to water and decay, yet it is made entirely from natural materials without any chemicals. Lacquer is derived from the sap of a mature urushi (lacquer) tree, with only about 250 to 350 milliliters collected from a single tree. The use of such an exceptionally rare material, combined with the fact that each piece is carefully handcrafted by skilled artisans, enhances the artistic value of Wajima Nuri.

However, Wajima Nuri is now facing a major crisis. On January 1, 2024, a powerful earthquake struck the Noto Peninsula in Ishikawa Prefecture, the heart of Wajima Nuri production. The disaster left the town in ruins, and many lacquer artisans suffered severe losses. My own workshop and home were completely destroyed, along with the precious tools I had used for years. The loss is heartbreaking, but I remain determined to continue creating, to preserve Japan’s traditional lacquer culture, and to share its beauty with as many people as possible.

Recently, I was able to establish a new workshop and gallery in Yuwaku Onsen, a hot spring area in Kanazawa City, Ishikawa Prefecture. I also plan to offer guided tours in English and hands-on Wajima Nuri lessons for visitors. The opening is scheduled for spring 2025, and I hope it will help more people discover the beauty of Wajima Nuri.

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 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. A deciduous tall tree in the urushi family, cultivated in Japan for centuries.
• 2. This refers to items that are finished by applying lacquer.
• 3. Lacquerware produced in Wajima City, Ishikawa Prefecture. The production techniques developed during the Edo period (early 17th to mid-late 19th century).
• 4. OGATA Korin (1658–1716) was a painter and artisan who refined and elevated the Rimpa school, a style known for its luxurious decoration rooted in the traditions of Yamato-e, a classical Japanese painting style characterized by its emphasis on nature and elegance. His representative works include the National Treasure Red and White Plum Blossoms, a pair of two-fold screens.
• 5. A box used to store an inkstone, brushes, and an inkstick, with the inkstone designed for grinding the inkstick with water to create sumi ink for calligraphy.
• 6. A person recognized by the Japanese government as a holder of important intangible cultural properties for possessing exceptionally advanced skills in fields such as theater, music, crafts, and other areas. Commonly referred to as a ‘Living National Treasure.’

By Suzanne Ross
Photo: Suzanne Ross; ISHIZAWA Yoji; Colbase

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