Joboji Lacquerware

  • Lacquerware
  • Iwate

Joboji Lacquerware Joboji Nuri

Joboji Lacquerware is known for its simple, understated beauty, finished with high-quality domestically produced lacquer in black, vermilion, and deep amber tones. Designed for everyday use, its durable surface develops a richer luster and character over time. It was designated a Traditional Craft by the Japanese government in 1985.

Description

What is Joboji Lacquerware ?

Joboji Lacquerware is produced mainly in and around Joboji, Ninohe City, as well as in Morioka, Hachimantai, and Takizawa in Iwate Prefecture. In 1985, it was designated as a Traditional Craft by the Japanese government.

One of its defining characteristics is the use of high-quality natural lacquer harvested in northern Iwate. The Joboji area is one of Japan’s leading lacquer-producing regions, and Joboji lacquer is valued for its clarity, luster, and durability. It has also been used in the restoration and conservation of important cultural properties.

Joboji Lacquerware is typically finished in plain black, vermilion, or tame, a deep translucent reddish-brown. Decoration is generally restrained, giving the vessels a simple and calm appearance. Traditionally, the craft has focused on practical objects for everyday use, including soup bowls, rice bowls, pouring vessels, plates, and trays.

Woods such as horse chestnut, zelkova, and magnolia are used for the base. The surface is strengthened and refined through repeated processes of applying lacquer, preparing the ground, coating, hardening, and polishing. Final finishes include hana-nuri, in which the final coat is left as applied, and roiro-nuri, in which the surface is polished to develop a deeper sheen.

With continued use, the surface gradually becomes smoother and more lustrous, allowing the character of the lacquer to deepen over time.

History

The origins of Joboji Lacquerware are traditionally associated with Tendaiji Temple in Joboji, Ninohe City. The temple is said to have been founded in ancient times, and according to local tradition, monks began making lacquered utensils for their own daily use. This practice is regarded as the beginning of Joboji Lacquerware.

Over time, lacquerware production spread from the temple to surrounding communities. Everyday objects such as bowls and pouring vessels came to be produced locally and were known collectively as Oyama-goki. Production gradually expanded through areas that are now part of Ninohe and Hachimantai.

During the Edo period, lacquerware became an important regional product under the Nanbu domain. Alongside simple and durable vessels intended for everyday use, more decorative lacquerware, including bowls embellished with gold leaf, was also produced. During the Meiji period, demand for these decorative bowls declined, while practical lacquerware continued to be used in everyday life.

After World War II, production declined as lifestyles changed and inexpensive synthetic products and imported lacquer became increasingly common. From the 1970s onward, however, the Iwate Prefectural Industrial Research Institute worked with local lacquer harvesters and lacquerware artisans to revive production techniques and train a new generation of craftspeople.

On May 22, 1985, Joboji Lacquerware was designated as a Traditional Craft by the Japanese government. Today, artisans continue to produce practical lacquerware that draws on locally harvested lacquer and techniques passed down in northern Iwate.

Production Process

  1. 1. Lathe-turning While the wood is drying, the level of humidity can cause warps, shrinkage, or cracks. Therefore, trees such as horse chestnut, zelkova, cherry birch, mulberry, mizume cherry tree, or magnolia are lumbered in seasons when their growth has stopped.
  2. 2. Cutting Logs are cut into round slices based on the diameter of a lacquerware item.
  3. 3. Rough and fine cutting The type of piece that will be made is determined by the wood grain. Therefore the wood is cut roughly and then cut again to the approximate size of the finished work.
  4. 4. Rough turning The cut wooden base is lathe-turned and roughly shaped to make a piece that is 10 to 20 mm (about 0.4 to 0.8 in) thicker than the finished dimensions, and then set aside for several months.
  5. 5. Artificial and natural drying The rough piece is dried by using a warm-air heater or dehumidifying dryer for two to three weeks until the moisture content is 7 or 8%. Then, the piece is naturally dried until the moisture content is almost the same as that in the air.
  6. 6. Middle turning The middle lathe is left alone for two to three days and the piece is shaved to 5 to 10 mm (about 0.2 to 0.4 in) thicker than the finished dimensions so as to remove any warps.
  7. 7. Base coating The surface of the wooden base is polished smooth with sandpaper and dusted with a dry cloth. Then, it is hardened by rubbing in plenty of raw lacquer. This process is essential because it not only prevents expansion and contraction of the wooden base, but also improves adherence of lacquer layers applied in the later stages. Firmly hardening the wooden base makes the lacquerware durable and highly water-resistant.
    There are two types of base coat: maki-ji and urushi-ji.
    In the maki-ji method, lacquer specially refined for this technique is applied. Before the lacquer dries, a base powder made of either baked diatomite, camellia, or magnolia charcoal dust is sprinkled on the surface; raw lacquer is then applied to harden the base. Finally, an undercoating, middle polishing, and middle coating is applied.
    Urushi-ji is also called kasane nuri (layer coating), in which raw lacquer mixed with polishing powder and colcothar is applied, followed by polishing with charcoal or emery paper*. Polishing powder is prepared by grinding slate and colcothar is a red pigment mainly consisting of iron oxide. This coating and polishing process is repeated seven to eight times to give a good, thick, and durable surface by using only lacquer.

    *Emery paper is a type of sandpaper.
  8. 8. Final coating The highest quality lacquer, refined for final coating, is applied with great diligence to ensure the surface has no brush marks or dust.
    Final coating is divided into two methods: roiro nuri and hana nuri. For the first technique, after final coating and drying, the surface is polished to give a good sheen, while in hana nuri, the piece is just left to dry.
    Joboji Lacquerware has mainly three color finishes: vermilion, black, or dark brown pieces. The dark brown pieces are finished with semi-translucent lacquer.

Facility Information

Tekiseisha

Tekiseisha

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