Urushi: The Foundation of a Culture Known as “Japan”

The Multifaceted Value of a 10,000-Year-Old Lacquer Culture

When you look at the dishes on a Japanese dining table, you’ll see a variety of materials.
There are cool glass plates for sashimi, simple earthenware bowls for rice, and warm wooden bowls for miso soup.
The wooden bowl, a staple in any Japanese household, is made using a traditional technique called Urushi (lacquer).
Did you know that this lacquerware is even registered as a UNESCO Intangible Cultural Heritage? In this article, we’ll delve into the history and appeal of Urushi, which is deeply rooted in the lives of the Japanese people.

Urushi is more than just a craft or a decorative material.
Its history is deeply intertwined with Japan’s climate and the lives of its people, forming a layered culture that encompasses practicality, artistry, and spirituality.
Overseas, Japanese lacquerware is sometimes called “Japan,” a testament to how this material symbolizes the nation’s history, technology, and aesthetic sensibilities.
In this article, we will explore the multifaceted value of Urushi from four perspectives: history, function, artistry, and modern-day challenges.

Dating back to the Jomon period, Urushi was first used for practical purposes like waterproofing containers and repairing broken items.
It eventually evolved into a medium for beautiful decorative techniques.
In this process, lacquerware developed a functional beauty, becoming lightweight, durable, and possessing high insulation, antiseptic, and antibacterial properties – making it indispensable for daily life. Furthermore, the philosophy of Kintsugi – treasuring and repairing broken items as “scenery” – aligns with the concept of a sustainable society today.

On the other hand, this precious material that underpins Japanese traditional culture now faces serious challenges related to production and the succession of techniques.
This article will detail the new value of Urushi as demonstrated by its UNESCO Intangible Cultural Heritage registration, and also present examples of public and private sector collaborations to address the structural problem of a lack of successors, offering a glimpse into the future of Urushi culture.

Ancient History: The Origins of Urushi Culture in the Jomon Period

The World’s Oldest Lacquer Culture: A Discovery That Overturns Conventional Wisdom

It’s now clear that Japan’s Urushi culture has a much older origin than previously thought.
The world’s oldest lacquerware was once believed to be from a Chinese relic from about 7,000 years ago, but a series of discoveries from Japanese Jomon-era sites has pushed that timeline back significantly.

One definitive discovery was a set of Urushi funerary items unearthed from the Kakinoshima B site in Hakodate, Hokkaido, dating back to approximately 9,070 years ago.
This finding predates the previous record by about 2,000 years, proving that Japan cultivated the world’s oldest lacquerware culture.
Though this valuable artifact was tragically lost in an arson fire in 2002, it was fortunately restored and continues to tell its story to future generations.

Furthermore, more fundamental insights into the origin of Urushi culture came from the Torihama Shell Midden in Wakasa-cho, Fukui Prefecture. Here, a piece of a lacquer tree (Urushi) was found, dating back to roughly 12,600 years ago (the Paleolithic period).
This is the oldest Urushi wood fragment in the world.
This discovery disproved the conventional theory that Urushi was brought to Japan from the mainland.
DNA analysis has since proven that Japanese Urushi is a native species to the Japanese archipelago.
This suggests that Urushi culture wasn’t merely an imported technique but was discovered and developed independently by the Jomon people within Japan’s unique climate, and may have even traveled to the Chinese mainland from here.

The Wisdom of the Jomon People: Diverse Uses of Urushi

During the Jomon period, the use of Urushi wasn’t limited to mere decoration; it was also valued for its exceptional practicality.
Numerous Urushi-coated earthenware and wooden items, dating from about 4,300 to 3,000 years ago, have been excavated from the Korekawa Nakai site in Hachinohe, Aomori, and the Shimotakabe site in Higashimurayama City, indicating that Urushi was widely used for daily necessities and ornaments like combs, hairpins, and spoons.

However, the Jomon people’s mastery of Urushi production is evident not just from finished products but also from artifacts showing the manufacturing process.
At the Shimotakabe site, fragments of earthenware used to store red pigment and red lacquer, freshwater mussels and earthenware pieces used as palettes, and other artifacts indicating the filtration and refinement of Urushi were discovered.
This tells us that the Jomon people had a deep understanding of the material properties of Urushi and had highly advanced processing techniques.

Even more significantly, Urushi was used as an adhesive.
Earthenware excavated from the Shimotakabe site shows evidence of cracks and chips being repaired with lacquer.
This suggests that the initial value of Urushi in the Jomon period was its strong adhesive quality.
This practical value is thought to have eventually expanded to functions like waterproofing and durability, and finally sublimated into beautiful decoration.
Understanding this gradual process is crucial for explaining why lacquerware is so deeply ingrained in Japanese life, rather than being just a work of art.
Traces of Urushi trees being reused as stakes in river channels have also been found, offering a glimpse into the Jomon people’s wisdom of “using things to the fullest.”

The Pursuit of Functional Beauty: Why Lacquerware Became a Staple of Daily Life

The Five Appeals of Lacquerware: Scientific Basis for Practicality

Beyond their beautiful appearance, lacquerware possesses five practical characteristics that enrich daily life.
The first is that they are lightweight and durable.
Because the base is made of wood, they are significantly lighter than ceramics, making them easy to handle.
They also don’t break easily when dropped and can be repaired if damaged, making them very suitable for everyday use.

Second, they have high insulation.
The wooden base of lacquerware has low thermal conductivity, so even hot soup doesn’t burn your hands.
This characteristic is perfectly suited to the Japanese eating culture of holding a bowl in your hands.
This also has the added benefit of keeping hot dishes warm until the very end.

Third, Urushi has excellent antiseptic and antibacterial properties.
The traditional practice of serving Osechi Ryori (New Year’s food) in lacquered boxes, or Jubako, dates back to this property, which helps suppress bacterial growth and reduces the risk of food poisoning.

The fourth and fifth appeals are the way the color and texture change and the pleasant feel and touch.
As you use lacquerware, the color deepens and the surface becomes glossier.
This shows that lacquerware isn’t just a tool but an “object of affection” that grows with its owner. Furthermore, the soft feel in your hand and the smooth touch on your lips maximize the flavor of the food and enrich the dining experience.
These combined physical and biochemical properties have made lacquerware not just an expensive dish but a key element in nurturing specific Japanese food and lifestyle cultures.

A Proposal for a Sustainable Society: The Philosophy of Urushi and Kintsugi

In the face of modern society’s throwaway culture and environmental issues, Urushi culture offers a profound philosophy.
The most symbolic examples are Kintsugi and the re-lacquering of lacquerware.

By simply re-coating the surface, lacquerware can be used for generations, deeply resonating with the modern concept of a sustainable society (SDGs).
Furthermore, Kintsugi, the art of repairing broken ceramics with lacquer and gold powder, elevates Urushi’s practical value as a strong adhesive into an art form.
In the Kintsugi process, fragments are first joined using a mixture of lacquer and wheat flour called Mugi-urushi.
Then, a paste of lacquer and polishing powder called Sabi-urushi is used to fill in gaps.
This is followed by repeated coats of lacquer and polishing.
Finally, gold powder is sprinkled and fixed, creating a golden line where the cracks were, which gives birth to a new kind of “scenery.”

The philosophy of Kintsugi is more than just a repair technique.
It embodies a traditional Japanese aesthetic of embracing a break not as a “failure” or “worthlessness” but as “history” and “individuality,” finding new value in it.
This idea of not easily discarding objects but cherishing and reviving them stands in stark contrast to the era of mass production and consumption.
This philosophy suggests a form of society that seeks not only material wealth but also spiritual richness, a crucial concept in today’s calls for sustainability.

Sublimation into Art: Lacquer Art Techniques and Diversity

Brilliant Decorative Techniques That Adorn Lacquerware

The artistic value of lacquerware is supported by a wide range of brilliant decorative techniques.
The most widely known is Maki-e.
This technique involves drawing a design with lacquer and, before it dries, sprinkling it with gold, silver, or other metallic powders to fix the design.
There are several types of Maki-e, including Hira-maki-e, where the surface is polished until the design is flat with the base; Togidashi-maki-e, where the entire surface is covered in lacquer and then polished to reveal the design; and Taka-maki-e, which builds up the base to create a three-dimensional design.
The most complex and advanced technique is considered to be Nikuai-togidashi-maki-e, which combines Taka-maki-e and Togidashi-maki-e.

Raden is another representative technique for decorating lacquerware.
It involves thinly shaving the mother-of-pearl layer of abalone, turbo, or silver-lipped oyster shells and embedding or gluing them onto the lacquer surface in a design.
Raden is categorized by the thickness of the shell, into Atsugai (thick shell) and Usugai (thin shell), each using different processes.
For Atsugai, the surface is carved to embed the shell, while for Usugai, the shell is glued on, and then multiple coats of lacquer are applied and polished to reveal the design.

Chinkin is also a significant decorative technique.
This involves carving a design into the lacquer surface with a graver and then embedding gold leaf or gold powder into the grooves, allowing for delicate yet luxurious expressions.
These techniques are not only used individually but can also be combined to create an infinite variety of beauty in lacquerware.

Lacquerware Diversity Nurtured by Regional Climate and Culture

There are about 30 lacquerware production regions in Japan, from the north in Aomori to the south in Okinawa, and each has developed its own unique lacquerware culture reflecting its local climate and history.
Among them, Aizu-shikki from Fukushima, Yamanaka-shikki and Wajima-nuri from Ishikawa, and Kishu-shikki from Wakayama are known as the “Four Major Lacquerware Regions of Japan.”

These regions are known for their distinct characteristics.
For example, while both Aizu-nuri and Wajima-nuri are known for their high-level coating techniques, their philosophies are clearly different.
Wajima-nuri pursues artistry and emphasizes its value as a work of art, while Aizu-nuri focuses on practicality, valuing its role as a tool for daily life.
Interestingly, the development of Wajima-nuri is said to have started by inviting lacquer masters from Aizu, suggesting that while lacquerware culture fosters regional uniqueness, it has also been supported by active technical exchange.

The Modern Successors of Lacquer Art: The Role of Living National Treasures

In the field of lacquer art, Living National Treasures (holders of Important Intangible Cultural Properties) are certified to have highly mastered traditional techniques and to pass them on to future generations.
The fields covered are diverse, including Maki-e, Chōshitsu (carved lacquer), Chinkin, Kinma, Kyūshitsu (lacquer application), and Raden.

Leading modern lacquer artists include Kazumi Murose, known for his intricate Maki-e techniques, and Kunie Komori, a master of Kyūshitsu (lacquer application).
They not only strictly preserve traditional techniques but also create innovative works with a contemporary sensibility, continually redefining the value of Urushi culture.

The skills of these modern masters are also being used in private sector initiatives.
For example, JAL’s “Hometown Project” has developed original lacquerware using Urushi from Iwate Prefecture, supervised by Living National Treasure Kazumi Murose.
The collaboration between successors of traditional techniques and private companies to bring high-quality lacquerware to the market helps to create new demand and spread the value of Urushi both domestically and internationally.
This demonstrates that traditional crafts are not just historical relics but hold high value in modern society as well.

Registration as Intangible Cultural Heritage: Why Urushi Must Be Protected and Passed On

The Registration of a “Technique,” Not the “Object”

A momentous event for the preservation of Japanese Urushi culture occurred on December 17, 2020.
The UNESCO Intangible Cultural Heritage registration was not for “lacquerware” itself, but for “Japanese Urushi production and refinement” and “lacquer coating for structures,” which are among 17 preservation techniques under “Traditional skills, techniques and knowledge for the conservation of wooden architecture in Japan.”

This fact signifies a redefinition of the value of Urushi culture.
UNESCO officially recognized that Urushi is an essential foundational technique for maintaining and restoring national cultural properties, such as Japan’s National Treasures and Important Cultural Properties, in addition to its artistic and practical value as a daily item.
This registration places Urushi on the same level as other specialized techniques that support traditional Japanese architecture, such as Hinoki cypress bark roofing, plastering, and tatami mat making, and highlights that its preservation is crucial for the overall maintenance of Japanese culture.

The Indispensable Role of Urushi in Cultural Property Preservation

To pass on Japan’s cultural properties to the future, it is a principle to use the same types and quality of materials as the original structure for repairs. In this context, Urushi is an indispensable material for repairing historical buildings.
High-quality domestic Urushi has been used for the restoration of iconic Japanese structures like the Nikkō Tōshō-gū Shrine, the Kinkaku-ji Temple, and the Konjiki-dō Hall of Chūson-ji Temple.
In particular, the Jōbōji Urushi produced in Ninohe City, Iwate Prefecture, is a key source of supply for these cultural property restorations due to its high quality.

Given this situation, the Agency for Cultural Affairs announced a policy in 2018 to use domestic Urushi as a principle for the conservation and repair of National Treasures and Important Cultural Properties.
This policy has led to a dramatic increase in demand for domestic Urushi.
This creates a new chain of challenges and opportunities, where the national project of protecting cultural properties is also an effort to maintain and strengthen the domestic Urushi production system.

Modern Challenges and Future Outlook: Lacquer Tappers and the Succession Problem

The Serious Reality: Domestic Urushi Production and Lack of Successors

Despite its deep history, Japan’s Urushi culture rests on an extremely fragile supply base.
Currently, a staggering 98% of Japan’s Urushi consumption is imported from countries like China, with domestic production amounting to only about 2,000 kg per year.
Of this domestic output, roughly 70% is harvested in Ninohe City, Iwate Prefecture, meaning the city is the de facto provider of domestic Urushi in Japan.

In addition to this structural problem, the aging of lacquer tappers and the lack of successors pose a serious challenge.
Over 2,000 kg of lacquer is needed each year for the conservation and repair of cultural properties, a quantity almost identical to the total annual domestic production.
This means that the national project of protecting cultural properties is dependent on the limited skills of a handful of artisans.
The lack of successors is not just an emotional issue of losing traditional techniques; it is a structural risk that affects the security of Japan’s cultural heritage.

The Harsh Labor and Advanced Skills of Lacquer Tappers

The harvesting of lacquer, known as Urushi-kaki (lacquer tapping), is an extremely demanding and highly skilled task.
Lacquer tappers use a special sickle-like tool and a chisel to make incisions in the trunk of the Urushi tree and collect the seeping sap drop by drop with a spatula.

This work is not only dangerous due to the risk of rashes from contact with the Urushi sap but also physically taxing.
The process of Kamazuri, or scraping the bark, is so strenuous that it can leave hands unable to clench.
Moreover, the sap cannot be collected all at once.
The artisan must carefully adjust the angle of the tool and the depth and length of the cut every four days, according to the condition of the Urushi tree.
Despite this painstaking and time-consuming work, a single Urushi tree, cultivated for 10 years, yields only about 180 cc, or roughly the amount of a small milk bottle.

In the past, a method called Yōjō-gaki (nurturing tapping) was common, where the tree was not killed to produce Japanese candles from its fruit.
However, today, to collect more sap, the more efficient but destructive method of Koroshi-gaki (killing tapping) is common, where a final ring of incisions is made around the trunk before felling the tree.
The arduousness, inefficiency, and reliance on skilled artisans in this process are what create the rare value of Urushi, which is incompatible with modern economic rationality.
The key to the future of Urushi culture is how to socially value and pass on this “irrationality” to the next generation.

Initiatives for Succession and Revival

The preservation of Urushi culture is no longer seen as an issue for just artisans and local communities; it’s now recognized as a national project that requires a unified effort from the public and private sectors.
The government and local municipalities have launched policies to promote the use of domestic Urushi and various initiatives to support the succession of techniques.

In Ninohe City, Iwate Prefecture, the “Urushi Forest Creation Support” program is underway, which aims to create Urushi forests for the future with support from private companies and organizations.
Under this initiative, the city signs “Urushi Forest Partner Agreements” with companies that support the revitalization of the Urushi industry, and they collaborate on tree planting and other activities.
JAL also contributes to expanding sales channels and raising awareness of domestic Urushi through its “Hometown Project,” where it develops and sells original products using Jōbōji Urushi in its in-flight magazine and online catalog.

In the area of technical succession, organizations like the “Japanese Urushi Tapping Technology Preservation Association” are responsible for training and preserving the skills of lacquer tappers, and are nurturing the next generation of artisans through workshops and training.
These initiatives are attempts to build a sustainable ecosystem by using the “national demand” for cultural property preservation as a driving force, linking support from local governments, the marketing power of private companies, and the expertise of technical preservation organizations.

Conclusion: Urushi Culture Presents a Vision of a Sustainable Society

As its long history shows, Urushi is more than just a material or a collection of techniques; it is Japanese culture itself.
Its value, discovered in the Jomon period as a practical adhesive, evolved into functions like waterproofing, insulation, and preservation, and then sublimated into sublime art forms like Maki-e and Raden.
This layered value is what positioned lacquerware not as an expensive art piece but as a tool deeply ingrained in the lives of the Japanese people.

In modern society, Urushi has gained a new dimension of value.
As demonstrated by its UNESCO Intangible Cultural Heritage registration, Urushi is officially recognized as an indispensable foundational technology for passing on Japan’s cultural properties to the future.
However, the aging and lack of successors among the artisans who supply this precious domestic Urushi pose a serious challenge that affects the very security of the nation’s cultural heritage.

The coordinated efforts of the government, local municipalities, private companies, and technical preservation organizations to address this challenge suggest that Urushi culture is a symbol of a sustainable ecosystem based on a philosophy of rebirth and cyclical renewal.
Urushi embodies the traditional Japanese values of “cherishing and reviving things,” which is the very antithesis of a throwaway culture.
It offers a solid answer to the sustainability challenges facing modern society.

To hold a piece of lacquerware, to cherish its warmth and the way it ages, is not merely the act of using a beautiful tool.
It is a definite act of connecting the history and techniques passed down from the distant Jomon period to the future.

References

• Public Relations office: The history and culture of lacquer in Japan
• Iwate Prefecture Official Site: Lacquer (Iwate’s national pride)
• Ministry of Agriculture, Forestry and Fisheries: The world of “lacquer”
• Higashinurayama City Official Site: Lacquer from the Jomon period
• Ninohe City Official Site: Japan Heritage and UNESCO Intangible Cultural Heritage Registration

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