Lacquerware artist Isao Ōnishi, honored as a Living National Treasure, uses “daigo-urushi” in his works, regarding it as one of the finest lacquers produced in Japan.

This exceptional material comes from Daigo, a small town nestled among mountains and nourished by the abundant flow of the Kuji River in northern Ibaraki Prefecture. Ibaraki is the second largest producer of urushi in Japan, following Iwate, with much of its production coming from Daigo. Urushi harvested here is known as "daigo-urushi" and is celebrated for its transparency and quality.

The SUITŌ SHIKI series features this incredibly valuable daigo-urushi. We spoke with Yoshihiro Nidaira, an urushi tapper from Daigo, to learn about the rich tradition and craftsmanship behind its production.

Urushi is traditional Japanese lacquer refined from the sap of lacquer trees. These deciduous trees of the Anacardiaceae family are native to East and Southeast Asia and can grow seven to eight meters tall.

Urushi has played an integral role in Japanese culture for nearly 9,000 years, transforming items into both exquisite and durable. From everyday items like tableware and combs to furniture and architecture, urushi is deeply woven into Japanese life. Tourists can witness the beauty of urushi in architectural masterpieces such as Kinkaku-ji (Golden Pavilion), Ginkaku-ji (Silver Pavilion), and Konjikidō at Chūson-ji.

Urushi is nature’s gift of beauty and utility. Applied not only for aesthetic purposes, urushi makes objects highly functional with insulating, preservative, waterproof, and insect-repellent properties. Urushi-coated objects are incredibly durable. Even when an object cracks, it can be repaired by reapplying urushi, allowing urushi-wares to be passed down for generations. Along with the object, its technique and culture are passed down. This enduring quality is reflected in the very name "urushi," which is believed to originate from the words "uruwashi" (beautiful) and "uruosu" (to moisten), highlighting its role as a material that both beautifies and preserves.

Once hardened, urushi becomes insoluble, making it an excellent adhesive. This quality is famously utilized in the traditional art of “kintsugi,” where broken pottery is repaired using urushi and embellished with gold or silver. Urushi also plays a central role in decorative techniques like maki-e and raden.

Another unique quality of urushi is that it dries best in a humid and damp environment, which was likely an important factor in why urushi culture flourished in Japan.

The history of urushi production in Daigo dates back to the Edo period when Mitsukuni Tokugawa, the second lord of the Mito domain - better known as Mito Komon (1628-1701) - encouraged the cultivation of urushi. He had farmers plant one urushi tree for every “koku” (about 150 kg) of rice their land could produce. The geography and climate of Daigo as a basin with humid air and good drainage made it an ideal place for urushi cultivation.

In Daigo, urushi trees are propagated by a method called "bunkon-hō," where the roots of young trees are used as seedlings. The trees are cultivated for about ten years before they are tapped for urushi. From a single tree, only about a cupful of urushi can be collected every year. To ensure that not a single drop of this precious urushi is wasted, they are carefully harvested by hand.

“Daigo-urushi is prized in Japan and abroad for its exceptional transparency. Layering coats of daigo-urushi gives the object a luster with a sense of depth. In addition, colored urushi made with daigo-urushi is known to have vibrant hues, and the brushwork extends smoothly, giving the finished piece a soft, luxurious feel. I believe this beauty is a testament to the sincerity and integrity of the craftsmanship involved in the production of daigo-urushi," says Tomohiko Tsujita of Tsujita Lacquer Shop, which handles the urushi used in SUITO.

When urushi flowers reach about three-quarters bloom, typically in May, it signals the start of the urushi tapping season. Urushi tapping begins with a process called “urushi-kaki,” where urushi tappers make a horizontal cut on the tree trunk with a sickle. Every four to five days, new cuts are made just above the previous ones. This process continues throughout the season, with tappers tending to about 50 to 100 trees each day until November.

Urushi tapping is deeply connected to the natural healing mechanism of the urushi tree, which secretes sap as a response to heal itself. However, the initial sap that oozes from the first incision is not collected to let the urushi “mature.” Tappers usually wait for about half a month, making small cuts every four to five days, allowing the tree to adjust and produce higher-quality sap. Only after around the fourth incision does the actual collection begin.

The same tree yields urushi with different transparency and viscosity depending on when it is extracted, leading to different uses and prices. The early sap collected is called “hatsu-urushi,” which is light and dries quickly, making it ideal for middle coatings. “Sakari-urushi” is considered the highest quality. With its supreme transparency, it is used for top coatings and polishing. The later sap, or “sue-urushi,” is thicker with less moisture, suitable as a base layer.

Urushi tapping is a delicate art that requires precision, experience, and a deep understanding of the trees. Nimpei-san, a seasoned urushi tapper, demonstrates this with every cut. He knows precisely where and how to make each incision, as if engaged in a silent conversation with the trees. Too shallow, and little or no sap will be collected. Too deep, and the tree will die. The challenges of urushi tapping evolve with the seasons. In summer, urushi flows quickly, while in autumn, it seeps more slowly, making it difficult to gauge the right timing. Urushi tapping is truly an art where the tapper’s skill and experience makes a difference.

The number of young tappers is slowly growing in Daigo. With men and women in their twenties joining, today there are twelve active urushi tappers, ranging from their 20s to 80s. This is largely thanks to the late Chairman Tobita who founded the Daigo Urushi Preservation Society and generously shared his 70 years of knowledge with its members. The urushi he harvested was used in the early SUITO SHIKI series.

The new generation of tappers is eager to learn, coming from varying backgrounds. Some came as members of the Regional Revitalization Cooperation Team, while others discovered their interest in urushi during fieldwork studies as students. Others used to be teachers. They now plant and grow urushi trees using abandoned farmland and forests that had lost their caretakers.

Even when competition intensified with the import of cheaper lacquers, the local community kept the tradition alive by building a system that ensured urushi tree cultivation and offered training from veterans. This commitment is the foundation of urushi culture and is key to a sustainable future.

Urushi is one of the leading Japanese traditional crafts. However, much of its production relies on lacquer imported from China and elsewhere. Today, less than 5% of lacquer used in Japan is made domestically. Recognizing its cultural importance, the Agency for Cultural Affairs issued a directive in 2018 requiring that only domestic urushi be used for preservation and restoration of national treasures or important cultural properties. It is estimated that approximately 2.2 tons of lacquer are required every year for preservation and repair, but only 2 tons of domestic urushi are produced. Securing domestic production is an urgent issue in preserving Japan’s traditional culture.

How can we ensure that this cultural legacy is passed down to future generations? A crucial first step is raising awareness and sharing knowledge about the beauty and significance of urushi culture. By understanding the challenges and appreciating the artistry behind "Made in Japan" urushi, we can all play a part in preserving this timeless tradition for years to come.