Lacquering Work

With autumn fully here, lacquerers are currently in the thick of filling orders for New Year’s soup bowls.
At such a time, we visited the workshop of Mr. Yasuo Tamayama
to watch the final top-coating process.

Vermilion and Black Lacquer Soup Bowls

For many years, Hanada has commissioned Mr. Tamayama to make vermilion and black lacquer soup bowls.
He uses domestic hardwoods.
The fine, even grain of the wood harmonizes with the simple design,
resulting in an elegant bowl that has long been cherished by many.

Many Steps in the Process

Lacquering is completed through many stages.
Wood sealing, base coating, middle coating, and final coating—
each step requires repeated cycles of “apply” and “dry,” and from the base coat onward, “polish.”
The work advances through careful repetition over time.

Wood Sealing and Base Coating

A woodturner carves the shape of the bowl from raw wood,
and the lacquer artisan’s work begins from that finished wooden base.

First, the fine bumps are removed with sandpaper,
and lacquer is allowed to soak deeply into the carefully smoothed wood.
A thorough sealing at this stage prevents moisture absorption and shrinkage,
and ensures the finished bowl is strong and durable.

Base Coat and Middle Coat

By repeating coating and polishing, the lacquer film gradually gains thickness.
Using lacquer for the middle coat and polishing it repeatedly with whetstones
is a technique unique to Jōbōji, a region known for its lacquer.

Although these layers are not visible once finished,
the base and middle coats are essential for ensuring the durability of lacquerware.

Top Coating

The final stage, top coating, is done in a special room.
Because not even a speck of dust can be allowed to settle,
the work is carried out in an isolated top-coating room.

Before applying the final coat, the entire room is wiped down, and once all tools are prepared,
the artisan changes into clothing reserved for top coating before entering.
Every step is taken with the utmost care to achieve a flawless finish.

Tools

The brushes used for lacquering are rare, made from women’s hair.
They are usually kept safely in a box with a lid to protect them from dust.
Mr. Tamayama also kept his neatly stored in a box with custom dividers.

These brushes are uniquely made, with hair extending into the handle,
allowing the artisan to advance new bristles as needed.
Too many or too few bristles make lacquering difficult, so the adjustment is delicate.

Before starting, the brush is checked for dust.
A small amount of lacquer is worked through the bristles and scraped with a spatula to remove particles.
This is repeated three to four times to ensure the brush is completely clean.

Next, dust is removed from the bowl itself.

Dust is the greatest enemy of the final coat.
Each step is carried out carefully and thoroughly.

Now, the lacquering begins.
Mr. Tamayama uses domestic Jōbōji lacquer.

From here, the work moves quickly.
He begins with the inside of the bowl.

By moving both the brush and the bowl, the lacquer is applied in smooth circular motions.

The pace is much quicker than one might imagine.
The lacquer absorbed into the brush is used efficiently in one swift motion.

After several passes inside, he moves on to the outside.

Fine details, such as the foot of the bowl, are carefully finished.

Freshly applied lacquer has a vivid sheen.
This bowl features a turned pattern from the lathe.
The fine rings catch the lacquer, creating water-like ripples.

The bowls are placed in a humid rotating chamber used for drying lacquer.
They are slowly rotated at intervals so the lacquer does not run or create uneven spots,
and the final stage proceeds.
The timing of rotation and drying is adjusted each time according to the lacquer and the weather.

Once the final coat is applied and the artisan leaves the room, there is a moment of relief.
All that remains is to monitor the drying and wait for completion.

Care of the Tools

The next task is caring for the tools.
The brush used for lacquering is cleaned thoroughly, with oil used to remove the lacquer.

This cleaning must be done with great care.
If lacquer remains and hardens, the brush becomes unusable.

The oil is wiped away completely, preparing the brush for the next top coating.

By drawing out fresh bristles over the years, the brush can be used for a long time.
For a lacquer artisan, the brush is both a tool and a trusted partner in their work.

Completion

This is only the process for the final coat.
We came to understand just how delicate and precise each step must be.

Even when using Jōbōji lacquer, the lacquer’s condition varies subtly depending on the climate and season of harvest.
The artisan must also adjust the mixture each time.
With attention to timing and drying at every stage, each soup bowl is carefully brought to completion.

A soup bowl completed through such careful work.
The quiet beauty of Jōbōji lacquer adds refinement to everyday life.

Yet the lacquer artisans of Jōbōji, including Mr. Tamayama, all say the same thing:
“It’s thanks to the quality of the wood,” and “It’s thanks to the lacquer.”
Woodturners, lacquer tappers, and lacquer artisans respect each other’s work,
and feel gratitude for the advantages of working in a lacquer-producing region.
This strong, longstanding connection is what supports Jōbōji lacquerware.

On the way back to Morioka Station, Mr. Tamayama shared a story with us.

“I can’t explain anything without drawings, but Mr. Iwadate and Mr. Yonezo (the woodturner Mr. Yonezo Sasaki from Hirono, Iwate) are amazing.
Once, I happened to see Mr. Iwadate asking Mr. Yonezo to make some bases.
There were no detailed measurements at all—just things like ‘something like this, in that way.’
And Mr. Yonezo simply said, ‘All right, I’ll take care of it.’ I was astonished.
At that moment I thought, I can never match the two of them.”

“Mr. Yonezo is truly remarkable. I didn’t realize it at first, but he always understands the intention of the lacquer artisan.
I didn’t notice because you can’t tell just by looking at the finished wood base.

One day at his workshop, I saw my drawing with his handwritten notes added to it.
That was the first time I understood.
It was something I hadn’t been able to express in the drawing.
He knew what I wanted to do—better than I did myself.”

He spoke passionately, more about others than about his own lacquering.

In November, we received a phone call from him:
“Mr. Yonezo Sasaki, the woodturner, has been selected as a Contemporary Master Craftsman!”
His voice was full of pride.
The lacquer artisans of Jōbōji must be truly delighted and celebrating him—
the scene came vividly to mind.

※ “Contemporary Master Craftsman,” awarded by Japan’s Ministry of Health, Labour and Welfare
This award program, established in 1967, honors highly skilled artisans considered leaders in their fields.
Its purpose is to recognize excellence, inspire young people pursuing craftsmanship, and raise both the status and skill level of artisans in Japan.

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