Kiso LacquerwarePhoto：Shinshu・Nagano Prefecture Tourism Association

  • Lacquerware
  • Nagano

Kiso Lacquerware Kiso Shikki

Kiso Lacquerware is distinguished by three traditional techniques: Kiso Shunkei, which highlights the natural wood grain; Kiso Tsuishu, which creates patterns through layers of lacquer; and Nuriwake Roiro-nuri, which uses colored lacquer for geometric designs. Its luster and character deepen with use, while maintaining excellent durability. It was designated a Traditional Craft by the Japanese government in 1975.

Description

What is Kiso Lacquerware ?

Kiso Lacquerware is produced mainly in Kiso-Hirasawa, Shiojiri City, Nagano Prefecture, as well as in Matsumoto City and Kiso Town. On February 17, 1975, it was designated as a Traditional Craft by the Japanese government.

The Kiso region has long been rich in high-quality timber, including hinoki cypress, sawara cypress, and asunaro. The combination of established woodworking skills and lacquer techniques led to the development of durable lacquerware designed for everyday use.

Three representative techniques distinguish Kiso Lacquerware: Kiso Shunkei, Kiso Kawari-nuri, also known as Kiso Tsuishu, and Nuriwake Roiro-nuri.

Kiso Shunkei highlights the natural beauty of the wood grain. Rather than applying a conventional undercoat, refined raw lacquer is repeatedly rubbed directly into the wooden surface, followed by a coating of transparent lacquer.

Kiso Kawari-nuri uses a durable foundation made from raw lacquer mixed with sabi-tsuchi, a locally associated clay material. Patterns are created with a lacquer-loaded pad, followed by multiple layers of colored lacquer. After the lacquer has hardened, the surface is polished back to reveal complex, layered patterns.

In Nuriwake Roiro-nuri, several colors of lacquer are applied separately to create geometric or other designs. The surface is then carefully polished to produce a deep, refined gloss.

Today, Kiso Lacquerware includes bowls, trays, serving stands, tiered boxes, low tables, furniture, soba utensils, and flower vessels. The region’s lacquer techniques are also applied to the restoration of shrines, temples, festival furnishings, and other cultural objects.

History

Kiso Lacquerware - History Photo：Shinshu・Nagano Prefecture Tourism Association

The Kiso region has a long tradition of woodworking supported by its abundant forest resources. Historical records confirm that bentwood objects were being produced in Narai before 1607, while the earliest known documentary reference to lacquered wares dates to 1665.

During the Edo period, the production of bentwood and other wooden objects made from hinoki and sawara cypress flourished. Applying lacquer to these objects increased their durability and contributed to the development of what became Kiso Lacquerware.

The industry grew under the protection of the Owari domain, and lacquerware from Kiso became popular among travelers along the Nakasendo highway. Early production included techniques such as Kiso Shunkei, in which lacquer was applied directly to the wood to preserve the appearance of the natural grain.

A major development occurred during the early Meiji period with the discovery of high-quality sabi-tsuchi clay near Narai. When mixed with lacquer and used as an undercoating material, it made it possible to create strong, smooth surfaces. This expanded production beyond everyday utensils to larger and more refined objects such as low tables, furniture, and decorative furnishings.

Distinctive techniques including Kiso Kawari-nuri and Nuriwake Roiro-nuri subsequently developed, helping establish Kiso as one of Japan’s major lacquerware-producing regions.

In 1949, the area was recognized by the national government as an important lacquerware production center. On February 17, 1975, Kiso Lacquerware was designated as a Traditional Craft by the Japanese government.

During Japan’s period of rapid economic growth, the industry expanded production of large lacquered furnishings for private homes, hotels, and traditional inns. Today, craftspeople continue to preserve traditional lacquer techniques while applying them to contemporary tableware, small objects, furniture, architectural work, and the restoration of cultural properties.

Production Process

  1. 1. Making the Wooden Base
    The production of Kiso Lacquerware begins with creating the wooden base. Woods such as hinoki cypress are shaped according to the intended product, including bowls, trays, tiered boxes, and serving stands.

    The wood is carefully examined for its grain and natural characteristics before being cut, bent, assembled, or otherwise shaped. In Kiso Shunkei, where the natural grain remains visible through the lacquer, the quality of the wooden base is especially important.
  2. 2. Preparing the Undercoat
    The wooden surface is prepared to create a stable foundation for lacquering. In techniques such as Kiso Kawari-nuri and Nuriwake Roiro-nuri, an undercoating material made with raw lacquer and sabi-tsuchi is applied.

    The surface is repeatedly coated, allowed to dry and harden, and then polished to remove irregularities and create a smooth, durable base.

    Kiso Shunkei differs in that a thick undercoat is not applied. Instead, lacquer is worked directly into the wooden surface to preserve the appearance of the natural grain.
  3. 3. Applying the Lacquer
    Lacquer is applied over the prepared wooden base in carefully controlled layers. Each coat is allowed to dry and harden under suitable temperature and humidity conditions, and the surface is polished when necessary before the next layer is applied.

    In Kiso Shunkei, refined raw lacquer is repeatedly rubbed into the wood, followed by transparent lacquer that allows the grain to remain visible.

    In Kiso Kawari-nuri and Nuriwake Roiro-nuri, several colors of lacquer may be layered or applied separately according to the intended design and finish.
  4. 4. Creating the Pattern
    Decorative patterns are created according to the technique and design of the piece.

    In Kiso Kawari-nuri, a small pad known as a tampo is loaded with lacquer and pressed against the surface to create a textured pattern. Layers of differently colored lacquer are then applied over this foundation.

    In Nuriwake Roiro-nuri, several colors of lacquer are applied separately according to the design. The artisan carefully controls the boundaries between colors and the overall balance of the pattern.
  5. 5. Revealing the Pattern
    After the lacquer has fully dried and hardened, the surface is polished as required.

    In Kiso Kawari-nuri, the multiple layers of colored lacquer are gradually polished back so that different colors emerge from beneath the surface, creating a complex pattern with a sense of depth.

    In Nuriwake Roiro-nuri, the surface is also finely polished to smooth the lacquer and refine the boundaries between the different colors. Kiso Shunkei is finished in a way that preserves the natural appearance of the wood grain.
  6. 6. Polishing and Finishing
    Finally, the lacquer surface is polished and finished according to the technique used. Where appropriate, a roiro finish is applied through repeated fine polishing to produce a deep, refined gloss.

    In Kiso Kawari-nuri, polishing enhances the layered pattern revealed through the surface. In Nuriwake Roiro-nuri, it brings out the richness and luster of the colored lacquer. In Kiso Shunkei, the transparent lacquer highlights the natural beauty of the wood grain.

    The finished piece is then carefully inspected for the condition of the lacquer surface, shape, and any imperfections before completion.

Facility Information

Kiso Kurashi No Kogeikan

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