輪島塗の工程

Process of

124 + 1

The production of Wajima lacquerware involves approximately 124 + 1 steps.

While we cannot showcase them all, we will introduce a selection of key processes.

Even this glimpse will help you understand why it is considered a 'lifetime treasure'.

Legal (Law) proposal

Wajima-nuri” is defined as a product that meets all the requirements set forth in the
‘Law Concerning the Promotion of Traditional Craft Industries".

The requirements are as follows.

[Techniques]

1. the basecoat shall be applied by the following techniques
(1) After coating the wood with raw lacquer, “cloth dressing” shall be done using hemp or cold gauze coated with “Kisemono lacquer”.
(2) Repeat the process of applying a mixture of raw lacquer, rice glue, and “Wajima jinoko” and then polishing.

2. The top coat should be “Hana-nuri” or “Roiro-nuri” using refined lacquer.

3. When decorating, Chinkin or Maki-e (gold-relief lacquer) should be used.

4. The woodwork shall be made by one of the following methods.
(1) For hikimono, a rokuro stand and a rokuro plane shall be used.
(2) For planks or bent pieces, “kokuso urushi” shall be used to form the pieces.

[Materials]

1. Natural lacquer shall be used for the lacquer.
The wood shall be hiba, zelkova, katsura, or hohonoki (Japanese cypress), or a wood of equivalent quality.

[Manufacturing area]

Wajima City, Ishikawa Prefecture

Processes

Wajima-nuri production has long been divided into different branches of industry, and traditional techniques have been passed down through the generations by specialized craftsmen such as “Kijishi”, “Nurishi”, and “Chinkin-shi/maki-e”.

As an example, we would like to introduce the process of making “Knot Bowls” in condensed form.

1: Rough square

We use zelkova that has been laid down for at least 3 years for lumber. From there, the wood is smoked for another three months or more to settle the humidity contained in the wood.

2: Rough square

The smoked surface is scraped off, and the piece is left to rest in this state for a further three months out of direct sunlight to allow the wood to settle.

3: Base

The bowl is then carved into its final shape. The bowls carved out at this stage are so thin that light can be seen through them.

4: Wood base hardening

The raw lacquer is soaked into the entire wood. This process tightens the entire wood and also allows the characteristics of each piece of wood to be understood.

5: Dressing

Cloth such as cheesecloth soaked in lacquer is applied to areas that are prone to chipping or damage.

6: Full outfit

This is the process of smoothing out the thickness (level difference) that occurred during the final cloth application. The lacquer used for the kokuro process is applied to fill in the gaps between the cloth and the wood.

7: One-sided painting

The most distinctive feature of Wajima lacquer is the undercoating process, which uses "jinoko" (ground powder). This powder is divided into "jinoko" "nihenko" and "sanhenko" in order of coarseness, and then mixed with rice paste and raw lacquer to coat the lacquer.

8:Two-sided painting

Use a whetstone to grind away any rough areas such as ground powder, making them smooth.

9: Three-sided base painting

We will use Sanbeji powder, the finest of all the base powders, to paint the base. We are finally approaching the final step of the base coat.

10. Squeeze

A lacquer called "sabi urushi" is applied, which is made by mixing raw lacquer with fine clay called tonoko. This makes the entire surface fine and smooth.

11: Ground grinding

The base is finally complete. We soak a whetstone in water to smooth out the surface and remove any oils from hands.

12: Undercoat

We use a type of lacquer called naka-urushi, which is more refined and thicker than the raw lacquer used up until now. It is okay if a little dust gets on the surface.

13: Medium sharpening

The dust on the surface of the intermediate coating is removed and made flat. This state is called "Koshiraemon." This intermediate sanding also finds any corrections to be made to the wood or base coat, and allows for repainting, etc.

14: Wipe off

The medium sanding is further polished to make the surface smooth and remove any hand oils that may have adhered to the surface. If any hand oils are left behind, the top coat of lacquer will not adhere.

15: Top coat

It's finally finished. The undercoat lacquer is slowly filtered through Yoshino paper (washi paper) three times, and then the top coat lacquer is ready. This lacquer is applied carefully to prevent dust from adhering to the product.