The origins of Echizen Lacquerware are traditionally traced back about 1,500 years to the end of the Kofun period.

According to local tradition, before becoming the 26th emperor of Japan, Emperor Keitai visited the area corresponding to present-day Katayama in Sabae. He is said to have asked a local lacquer artisan to repair a damaged crown.

The artisan repaired the crown with lacquer and also presented the prince with a black lacquered bowl. Impressed by its workmanship, the prince is said to have encouraged lacquerware production in the Katayama area. This episode is traditionally regarded as the beginning of Echizen Lacquerware.

The Echizen region also became known for urushi-kaki, the craft of collecting raw lacquer sap from lacquer trees. Skilled lacquer harvesters from the region worked in many parts of Japan. The combination of lacquer-harvesting traditions and the woodworking skills of kijishi, or wooden-base makers, contributed to the development of the local lacquerware industry.

By the Muromachi period, bowls produced in Katayama were known as Katayama-wan and were widely used for Buddhist ceremonies and other occasions.

Toward the end of the Edo period, local artisans are said to have introduced maki-e techniques from Kyoto and chinkin techniques from Wajima. These decorative methods added greater visual richness to lacquerware already valued for its durability.

From the middle of the Meiji period, production expanded beyond round vessels such as bowls to include trays, tiered boxes, serving stands, boxes, and flower vessels. Production also spread throughout the Kawada area, and the lacquerware became known as Kawada-nuri.

The industry later expanded into professional-use lacquerware for inns, restaurants, and other businesses, while developing production systems capable of supplying larger markets.

On May 10, 1975, Echizen Lacquerware was designated as a Traditional Craft by the Japanese government. Today, the region continues to preserve traditional wooden lacquerware techniques while also producing professional-use and contemporary products using a wider range of materials and manufacturing methods.

1. 1. Making the Wooden Base
   The production of Echizen Lacquerware begins with creating the wooden base that will form the shape of the finished piece. Woods such as horse chestnut, Japanese cherry birch, and zelkova are commonly used for turned vessels such as bowls.
   
   For turned pieces, the wood is cut so that the grain runs vertically through the vessel, a method known as tategi-dori. After the wood has been thoroughly dried, it is shaped on a lathe using specialized turning tools. For trays, tiered boxes, and other board-built objects, wooden boards are cut, shaped, and assembled according to the intended form.
   
   The characteristics and grain of the wood are carefully examined while shaping each piece to achieve the required form and durability.
2. 2. Preparing the Undercoat
   Once the wooden base is complete, its surface is prepared for lacquering. Raw lacquer is worked into the wood to strengthen the surface, and cracks, dents, or other irregularities are repaired as necessary.
   
   Traditional Echizen Lacquerware uses undercoating techniques such as shibu-shitaji, which incorporates persimmon tannin, and ji-no-ko shitaji, in which a mixture containing lacquer and fine mineral powder is applied to create a smooth and durable foundation.
   
   The undercoat is applied, allowed to dry and harden, and then polished. Repeating these steps creates a firm, even surface for the subsequent lacquer layers.
3. 3. Intermediate Coating
   After the undercoat has been prepared, intermediate layers of lacquer are applied.
   
   The lacquer is spread evenly over the surface and allowed to dry and harden in a controlled environment with suitable temperature and humidity. The surface is then polished to remove minor irregularities and prepare it for the next coat.
   
   Carefully repeating the coating and polishing processes builds depth and durability and helps create a smooth surface for the final lacquer coat.
4. 4. Final Lacquer Coating
   The final coat of lacquer is applied after the intermediate coating has been completed. This stage has a major influence on the color, luster, and texture of the finished lacquerware.
   
   Echizen Lacquerware uses finishing techniques such as hana-nuri, in which the final coat is left as applied without further polishing, and roiro-nuri, in which the surface is polished after the final coating to produce a deep, refined gloss.
   
   The artisan carefully controls the viscosity of the lacquer, brush movement, temperature, and humidity to achieve an even surface without visible dust or brush marks.
5. 5. Maki-e Decoration
   Some pieces are decorated with maki-e. In this technique, designs are painted with lacquer and then sprinkled with gold, silver, or other metallic powders.
   
   Major variations include hiramaki-e, which creates relatively flat designs; takamaki-e, in which layers of lacquer are built up to create raised decoration; and togidashi maki-e, in which the design is covered with lacquer and then polished back to reveal the motif.
   
   Precise brushwork and careful handling of lacquer and metallic powders create richly detailed and visually layered decoration.
6. 6. Chinkin Decoration
   Chinkin is a decorative technique in which designs are carved into the finished lacquer surface. Lacquer is then worked into the carved lines, and gold leaf, gold powder, or other materials are applied to make the design stand out.
   
   Specialized carving tools are used to create fine lines and dots, while variations in depth and pressure produce delicate expressions and a sense of dimension.
   
   Finally, the lacquer surface and decoration are carefully inspected, and any necessary finishing work is completed before the Echizen Lacquerware piece is finished.