Visiting Joboji, the Homeland of Urushi

On October 15, 2017, I visited the Joboji Urushi Exhibition, co-hosted by Ninohe City and the Joboji Urushi Producers Association in Iwate Prefecture. This evaluation event brings together all the Joboji urushi harvested that year to carefully check the quality of each batch. Behind the high quality standards maintained for Joboji urushi—the peak of Japanese domestic lacquer—lies the tireless dedication of the many people involved in its production.

The Japanese name for this gathering, “Kyoshinkai,” carries a lovely meaning. While it is certainly an evaluation event, the name conveys a sincere and forward-looking spirit of striving for mutual improvement together. This warm, collaborative atmosphere became even more apparent as I observed the venue throughout the day.

The Life of an Urushi Tree

Domestic urushi is exceptionally rare today. While an urushi tree takes 8 to 13 years to mature, sap collection takes place over just a single year. Because the tree is completely harvested during that year, each tree requires careful assessment and highly skilled tapping techniques. Under the method known as “koroshigaki” (full extraction tapping), the tree dies once all the sap is harvested and is cut down that same year. However, new shoots sprout from the remaining stump, allowing the cycle to begin anew.

*The incisions made to harvest sap are called “hen” (cuts). Starting from the earliest cuts (usually at the lower part of the trunk), they are counted as 1-hen, 2-hen, 3-hen, and so on.

Barrels like these lined the venue, containing ki-urushi (raw, unrefined urushi) stored just as it was harvested.

Joboji urushi represents the pinnacle of domestic Japanese lacquer. Japan’s self-sufficiency rate for urushi is a mere 1 to 2 percent, and approximately 70 percent of that precious domestic supply is produced in Joboji, Iwate Prefecture. High in urushiol content, top-grade Joboji lacquer is indispensable not only for everyday crafts like soup bowls, but also for the restoration and preservation of Japan’s National Treasures and Important Cultural Properties. It is said that 1.5 tons of Joboji urushi were used in the restoration of Rokuon-ji (the Golden Pavilion) in Kyoto, and it continues to play a vital role in the ongoing conservation work for the “Heisei Great Restoration” of Nikko’s shrines and temples (Futarasan Shrine, Toshogu, and Rinno-ji).

Rows of large and small barrels were arranged across the venue, awaiting inspection. Even within Joboji urushi, subtle variations in quality arise depending on the tapper who harvested it, as well as the climate of that year. Harvested entirely by hand, cut by cut, while responding to the forces of nature, every single barrel represents something truly precious.

Here are the tools set up for the inspection. These large spatulas are used to check the condition of the urushi inside the barrels. In the simple, lacquer-stained appearance of the wooden tools, one can feel a quiet, functional beauty.

Takashi Iwadate and Nao Asano

We were guided through the event by lacquer artists Takashi Iwadate and Nao Asano. Ms. Asano studied lacquering under Mr. Iwadate and has since established her own independent studio in Hachimantai City, Iwate Prefecture.

Opening the paper lids, they inspect the color, sheen, scent, and viscosity. The viscosity is judged by how the lacquer adheres when lifted from the paper cover. From the perspective of lacquer artist Ms. Asano, a fast-drying type appears to be ideal.

“See? It has that lovely urushi scent. Can you tell?” said Mr. Iwadate. A mild, sweet, and tangy aroma floated through the air of the venue, becoming richer as one leaned closer to the barrels.

I was accustomed to the clear, distinct scent of urushi that rises when opening a box containing a freshly completed soup bowl at our shop. Raw urushi, however, felt somewhat different, carrying a natural scent reminiscent of soil and tree bark.

About Urushi To harvest urushi, horizontal cuts are made on the trunk of the tree, and the milky white sap that oozes out is scraped off using a spatula. This process is called “urushigaki” (lacquer tapping). Influenced by the local climate, the qualities of domestic urushi change depending on the time of year it is harvested. Categorizing lacquer by harvesting season is a unique practice exclusive to Japanese domestic urushi, allowing artists to make thoughtful, efficient use of each harvest by adapting their coating techniques to its specific qualities.

	Urushi harvested from mid-June to late July is called “初辺 – Hatsuhen” (first cut). Known for its relatively fast curing speed, Hatsuhen is often used for finishing coats. It is especially suited for “fuki-urushi” (wiped lacquer technique), where wiping and polishing are repeated during maki-e finishing.
	Harvested in the height of summer around August, “盛辺 ― Sakarihen” (peak cut) features low viscosity and excellent spreadability. It is primarily used for the topcoat finishing of soup bowls.
	Urushi collected from early to late September is called “末辺 – Suehen” (late cut). Characterized by its high viscosity, it takes longer to dry.

The Judging Begins

At last, the evaluation began. Quality is judged based on factors such as color, viscosity, and drying (curing) time. It was impressive to see the judges carefully inspecting each barrel with their check sheets in hand.

The large spatula mentioned earlier is inserted into the barrel.

After stirring gently inside, lacquer of a different shade than the surface layer appears.

The urushi streams down smoothly like fine threads, flowing continuously without breaking. I was amazed by the fluid, silky consistency of the raw lacquer.

“This urushi is lovely.”
“What a fine color.”
“The spatula used for tapping wasn’t quite right for this one.”
“It looks like they applied a lot of force while harvesting.”
Fascinating conversations filled the air around the evaluation area. As it provided a wonderful opportunity to learn, many attendees followed the judges closely.

“This is excellent urushi—it spreads so smoothly.”

Lacquer artist Takumi Iwadate was also examining each barrel in detail. His dedication was evident as he leaned in remarkably close to inspect the lacquer.

People continually stopped by to greet one another, likely sharing thoughts on this year’s harvest quality and trends.

Isamu Odashima from Tekiseisha was similarly inspecting each barrel with great care, as people paused to speak with him. Active interactions spanned across generations and fields, connecting lacquer artists, tappers, and others involved in the craft. That warm atmosphere filled the entire venue.

A steady stream of visitors also came over to speak with Mr. Takashi Iwadate. One could truly feel his respected presence as someone relied upon by so many colleagues. Even amid the busy gathering, he kindly checked on us, asking, “Did you get a photo here?” and “How about over there?”

Many press representatives were also present.

While participants conversed throughout the venue, the evaluation proceeded efficiently.

The judging progressed smoothly in a friendly yet focused manner. All 58 barrels of urushi were carefully inspected and evaluated to conclude the session.

The three judges.
From left: Mr. Toshikazu Machida (Head of Machida Toshikazu Urushi Art Laboratory),
Mr. Morio Oikawa (Head of Oikawa Urushi Studio),
and Mr. Masanobu Kobayashi (Iwate Industrial Research Institute).

Next was the award ceremony.
The Gold Prize in the Sakarihen (Peak Cut) Division was awarded to Mr. Masayuki Seko.

The Gold Prize in the Suehen (Late Cut) Division was awarded to Mr. Yoshio Izumiyama.

The Gold Prize in the Hatsuhen (First Cut) Division was awarded to Ms. Madoka Nagashima.

Ms. Madoka Nagashima began her journey in urushi tapping only a few years ago. Warmest congratulations!
She is a promising talent whose future endeavors we look forward to with great anticipation.

To preserve Joboji urushi, many people across both the public and private sectors continue their dedicated efforts in this traditional craft. In 2015, the Agency for Cultural Affairs established a policy stating that domestic urushi should be used for the restoration of National Treasures and Important Cultural Properties. Joboji urushi’s contribution to Japanese culture is set to grow even further, making its existence increasingly valuable.

Soup bowls made with a generous amount of precious Joboji lacquer will begin arriving at our shop starting this autumn. Please stay tuned and take a look.

▼ Click here to read the late-autumn report on urushi forests as the tapping season ends ▼

▼ Click here to view Joboji lacquerware, the peak of Japanese domestic urushi ▼

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