Tapping lacquer, traditional, lacquer based kintsugi

Lacquer is the heart of traditional kintsugi.  It is also expensive.  More than 90% of the lacquer used in Japan is imported but there are still a couple of areas which are known for lacquer production, Iwate prefecture is one of them.  Below is a short summary of how lacquer is gathered, taken from a couple of PDFs, one from Iwate prefecture, a major area of production.

A lacquer tapper generally works up to 500 trees per year and although there are many variables such as the skill of the tapper, size and quality of the trees, the goal is to harvest about 75 kg of raw sap. The selection of high lacquer bearing trees is crucial, mature tree will yield about 200 ml of lacquer so a total of about 100 liters of raw lacquer. The amount of lacquer locally produced in Japan has fallen more than 95% since the 1960s.

The trees are worked on a 4 day rotating cycle from the beginning of the rainy season, around June, to the end of October.  A tapper will select four sets of trees to tap, around 100 – 125 trees in a set for a total of 400-500 trees, going to a set a day and then not returning to that set until the other 3 sets have been tapped which leaves the trees 4 days to heal from the scoring cut.  To start a tapping area an incision of about 2 cm. long and deep enough to get through the bark but not so deep as to scar the living wood is made just above the ground on one side of the tree and then again on the opposite of the tree about 20 cm higher than the first cut. This pattern is repeated so you will have an initial cut on either side of the tree spaced roughly 20 cm vertically. This initial cut, called medate, serves as both a visual que for the tapper on where to make the next cuts, and a signal to the lacquer tree to increase lacquer production to help repair the cuts. The cut in the tree triggers a healing reaction which is why the lacquer flows, to heal the cut. After the initial cuts are made on all the trees in the set the  work of the actual tapping starts. Cuts are made above the initial cuts which are slightly longer, and the secreted sap is scrapped out and collected.  A days work will consist of going to every tree in that days set and on every tree doing a cut above the initial cut. The pattern left on the tree after a series of 18-20 cuts,  will be a series of V shapes on both sides of the tree, staggered from one side to the other, up to below the branch areas.  Too many tapping areas or ones not placed well can result in the tree failing and being damaged. The lacquer from the initial cut to about the 7th cut is called beginning lacquer with the prime lacquer coming from about the 8th to 18th or so horizontal line above the initial 2 cm cut. The season for this beginning through to prime tapping is about from June to late September. After this there are a couple of more tapping methods which produce lower quality lacquer with the final cut being around the entire circumference of the tree, this last cut stops the flowing of the lacquer. The lacquer grade is gauged from when in the harvesting season it is gathered.

 

https://www.youtube.com/watch?v=adjHeXAir2o    very good visuals

https://www.youtube.com/watch?v=5pVc5zvdVqI  English subtitles

https://www.youtube.com/watch?v=1auomY06Lf0  beginner tapper from Iwate prefecture

3 types of tapped lacquer
3 types of tapped lacquer

The #1 figure shows the chemical makeup of lacquer, #2 shows lacquer taken from the first 7 tapping cuts,    #3 shows the prime lacquer taken from the 8th through to the 19th or so tapping cut,   #4 is the last cuts for tapping.

Image from https://www.ffpri.go.jp/pubs/chukiseika/documents/3rd-chukiseika3.pdf

tapping lacquer
tapping lacquer

The left image is a schematic of the tapping sections, the right top shows a compete set of cuts from the initial cut up through to the last cut, and right bottom is a sideview of the depth and spacing between the cuts.

Image from  https://www.pref.tokushima.lg.jp/file/attachment/436106.pdf

lacquer tapping cuts
lacquer tapping cuts

These images show both the cut for the tapping, the size of the trees, and an image of what the tapped trees look like.

Image from  https://www.pref.tottori.lg.jp/secure/1326827/0718urusi.pdf

 

 

 

 

 

Lacquer trees, traditional, lacquer based kintsugi

This is a Question and Answer lifted from a pdf put out by a city in Iwate prefecture in the northern part of Honshu. It is written as a guide on how to start your own urushi tree farming operation. The average age of lacquer tappers and growers in Japan is in the 60-70 year age and many areas make an effort to attract younger farmers.

The question and answer part of this pdf is on page 8 and 9, https://www.pref.iwate.jp/_res/projects/default_project/_page_/001/014/952/urushi_susume.pdf

A couple of the questions were interesting to me.

 

Q4. What does it mean to get a rash from Urushi?

Medically known as “contact dermatitis,” an Urushi rash is an inflammatory skin condition accompanied by itching; it is an allergic reaction triggered by contact with “urushiol,” the primary component of the Urushi tree.

Susceptibility varies from person to person. Since urushiol is present throughout the entire tree, some people may develop a rash simply by getting close to an Urushi tree, while others may not react at all.

 

Q8. Are there ways to utilize lacquer trees other than harvesting the sap?

Due to the risk of allergic reactions (urushiol rash), there are currently almost no examples of such utilization.

In the past, the wood was used for fishing net floats because it is lightweight and water-resistant, but it is not used for this purpose today.

 

Q10. What kind of tree yields good lacquer?

A comparison—often discussed among lacquer tappers—between trees that produce abundant sap and those that do not.

 

  • Trees with poor sap yield

“Pear-skin” texture (white-barked trees)

Male trees

Trees planted too closely

Trees in shady locations

Trees growing amidst conifers

Trees with acute-angled branching, long intervals between branches, and slender trunks

Trees with narrow branching, a long clear trunk (distance to the first branch), and slender trunks

Slender, straight trees

 

  • Trees with good sap yield

“Mochi-skin” texture (smooth, dark-barked trees)

 

Male trees

Isolated trees (widely spaced)

Trees in sunny locations

Trees growing amidst broad-leaved trees

Trees with obtuse-angled branching, short intervals between branches, and thick trunks

Trees with wide-spreading branches, a short clear trunk, and thick trunks

Forked trees

The trees listed above as yielding abundant sap are those that grew vigorously with ample room to spread their branches, situated in favorable environments with good soil and sunlight; therefore, the goal is to plant and manage trees to achieve these conditions.

 

Q11. How many years does it take before lacquer sap can be harvested?

While larger-diameter lacquer trees yield more sap, it is said that the tree’s radial growth begins to slow down around the 17-year mark. This serves as a guideline for the economically optimal harvest period before the tree’s vitality declines; in terms of diameter, the harvest period generally begins when the tree reaches 15–20 cm.

 

 

Below is the full Question and answer run through Google translate

 

2 Urushi (Japanese Lacquer Tree) Q&A

 

Q1. Where can I buy Urushi seedlings?

While Urushi seedling growers are based in Joboji Town, the Joan Forestry Cooperative currently handles orders.

 

Q2. What are the costs involved in growing Urushi?

In addition to the cost of the seedlings, expenses for site preparation are incurred if planting in a forest area.

 

Q3. Are there subsidy programs for planting or tending Urushi trees?

If you plant 1,000 or more trees on a forest plot of 0.1 hectares (approx. 1 *tan-bu*) or larger, subsidies are available to cover planting costs as well as the costs of undergrowth clearing for five years (including the planting year). (Forestry Development Project)

For planting on agricultural land, you become eligible for subsidies only if you complete the necessary farmland conversion procedures beforehand.

Additionally, some municipalities may have their own independent subsidy programs, so please consult the relevant local government department.

 

Q4. What does it mean to get a rash from Urushi?

Medically known as “contact dermatitis,” an Urushi rash is an inflammatory skin condition accompanied by itching; it is an allergic reaction triggered by contact with “urushiol,” the primary component of the Urushi tree.

Susceptibility varies from person to person. Since urushiol is present throughout the entire tree, some people may develop a rash simply by getting close to an Urushi tree, while others may not react at all.

 

Q5. What should I do if I want to sell my Urushi trees?

If your trees catch the eye of a *urushi-kaki* (sap-tapping artisan), you may receive an offer once the trees reach a suitable size. If you do not receive an offer, please consult the Iwate Prefecture Joboji Urushi Production Cooperative, an organization formed by these sap-tapping artisans. [Contact Information]

Secretariat: Tel 0195-38-2933

 

Q6. My lacquer tree appears to be suffering from disease or pest damage. Who should I consult?

Please consult a prefectural forestry extension officer.

 

Q7. How can I prevent disease or pest damage in lacquer trees?

Ensure they are planted in suitable locations and carry out maintenance tasks such as undergrowth clearing.

 

Q8. Are there ways to utilize lacquer trees other than harvesting the sap?

Due to the risk of allergic reactions (urushiol rash), there are currently almost no examples of such utilization.

In the past, the wood was used for fishing net floats because it is lightweight and water-resistant, but it is not used for this purpose today.

 

Q9. My lacquer tree is spreading sideways instead of growing straight up. What should I do?

This can be managed by adjusting the planting density.

While pruning (removing lower branches) is an option—similar to the practice with Japanese cedar—abundant branches and leaves are necessary for photosynthesis. Therefore, unless the branches interfere with the sap-tapping process or compete with one another to the detriment of the tree’s growth, there is no need to rush to cut them off.

 

Q10. What kind of tree yields good lacquer?

A comparison—often discussed among lacquer tappers—between trees that produce abundant sap and those that do not.

 

  • Trees with poor sap yield

“Pear-skin” texture (white-barked trees)

 

Male trees

Trees planted too closely (trees beginning to be suppressed by neighbors)

Trees in shady locations

Trees growing amidst conifers

Trees with acute-angled branching, long intervals between branches, and slender trunks

Trees with narrow branching, a long clear trunk (distance to the first branch), and slender trunks

Slender, straight trees

 

 

  • Trees with good sap yield

“Mochi-skin” texture (smooth, dark-barked trees)

 

Male trees

Isolated trees (widely spaced)

Trees in sunny locations

Trees growing amidst broad-leaved trees

Trees with obtuse-angled branching, short intervals between branches, and thick trunks

Trees with wide-spreading branches, a short clear trunk, and thick trunks

Forked trees

The trees listed above as yielding abundant sap are those that grew vigorously with ample room to spread their branches, situated in favorable environments with good soil and sunlight; therefore, the goal is to plant and manage trees to achieve these conditions.

 

Q11. How many years does it take before lacquer sap can be harvested?

While larger-diameter lacquer trees yield more sap, it is said that the tree’s radial growth begins to slow down around the 17-year mark. This serves as a guideline for the economically optimal harvest period before the tree’s vitality declines; in terms of diameter, the harvest period generally begins when the tree reaches 15–20 cm.

 

Q12. I would like to try tapping lacquer myself; how should I go about it?

Harvesting lacquer is a complex process that involves making incisions in the tree while allowing for recovery periods—letting the tree heal the wounds—to stimulate the secretion of high-quality sap. You should seek instruction from a professional lacquer tapper.

 

Q13. New shoots have sprouted after the lacquer tree was cut down. Can I harvest it eventually if I just leave it alone?

Instead of using the shoots that sprout from the stump, select a few promising ones that have emerged away from the parent plant and cut away the others. Later, once you can gauge their growth, select the best single stem—considering its positioning relative to others—and remove the rest.

To grow the lacquer tree large enough for harvesting, you must perform maintenance tasks such as undergrowth clearing; otherwise, it will be outcompeted by native vegetation.

 

Q14. Planting it myself seems like a lot of work; can I hire someone else to do it?

If you are planting on forest land, you can utilize subsidy programs, such as those for forest development projects. You can also commission the work to a forestry cooperative, so please consult your nearest cooperative.

 

 

 

 

 

November 2026 traditional materials and techniques workshop, Nara Japan

3 seats open.

November, 2026
November 1st to November 3rd
2026 Nara, Japan. 3-day kintsugi workshop
November 12th to 26th 2026 Nara, Japan.
Extended 10 day traditional, lacquer based kintsugi workshop.
This workshop will meet and break the following days.
meet 12th and 13th
break 14th and 15th
meet 16th 17th 18th
break 19th
meet 20th
break 21st
meet 22nd 23rd
break 24th
meet 25th 26th

Traditional, lacquer based kintsugi, Ko Imari plate,

This is an old Imari plate with 2 cracks. Both of them can be seen on the face and back. The crack at the rim needs to be completed so that I can take the pieces out and then repair them. The crack at the foot of the plate is a problem since it can’t be easily completed so may need to be treated in place.

Traditional, lacquer based kintsugi, Imari plate

Traditional, lacquer based kintsugi, Imari plate
Traditional, lacquer based kintsugi, Imari plate
Traditional, lacquer based kintsugi, Imari plate
Traditional, lacquer based kintsugi, Imari plate
Traditional, lacquer based kintsugi, Imari plate
Traditional, lacquer based kintsugi, Imari plate

 

For more on traditional, lacquer based kintsugi see kintugi.com or https://zac.wnz.mybluehost.me/website_a640e8d6/?page_id=225

Traditional, lacquer based kintsugi, Imari plate, 52 cm, step 6

This video shows step 6, adding lacquer to sabi in order to harden it and make it easier to work.

I didn’t do the original repair on this plate and don’t know how long ago it was done.   I have cleaned the sabi up and want to reapply more so before doing so I am applying lacquer to both make it harder and help in adhesion for the new layer I will apply.  My studio is cold and low humidity so the lacquer is thick and doesn’t apply well in the video.

Step by step how to do kintsugi, quick guide

 

For more on traditional, lacquer based kintsugi see kintugi.com or https://zac.wnz.mybluehost.me/website_a640e8d6/?page_id=225

Traditional, lacquer based kintsugi, Imari plate, 52 cm

Here are some photos of a plate I am thinking about doing. It is a large charger, 52 cm diameter, with a 3 piece break which has been partially repaired.  The repair is full of glaze spalls and very small fill lines.

Imari plate, kintsugi repair spalls
Imari plate, kintsugi repair spalls
Imari plate, kintsugi repair
Imari plate, kintsugi repair
Imari plate, kintsugi repair
Imari plate, kintsugi repair
Imari plate, kintsugi repair spalls
Imari plate, kintsugi repair spalls
Imari plate, kintsugi repair
Imari plate, kintsugi repair
Imari plate, kintsugi repair
Imari plate, kintsugi repair
Imari plate, kintsugi repair
Imari plate, kintsugi repair

 

 

For more on traditional, lacquer based kintsugi see kintugi.com or https://zac.wnz.mybluehost.me/website_a640e8d6/?page_id=225

Traditional, lacquer based kintsugi, step 5, polishing #4 gold abura tonoko + ishiko + a combination of 3 polishing compounds on Karatsu tea bowl.

This video shows the midde and last parts of step 5, polishing #4  gold with abura tonoko + ishiko + jozuri on  a Karatsu tea bowl.  Abura tonoko is made with tonoko mixed with oil, usually  I use vegetable oil.  Ishiko is a ground stone applied with oil, and a combination of 3 polishing compounds.  To see step 5 see https://zac.wnz.mybluehost.me/website_a640e8d6/?page_id=225

For more on traditional, lacquer based kintsugi see kintugi.com or https://zac.wnz.mybluehost.me/website_a640e8d6/?page_id=225

 

Traditional, lacquer based kintsugi, step 5, polishing #4 gold on Karatsu tea bowl.

This video shows the first part of step 5, polishing #4  gold on  a Karatsu tea bowl.. I applied the first hardening lacquer on Oct. 2, the second on Oct. 3, and the last on Oct. 6th. I waited longer than usual to do this step, usually it can be done a couple of days after the last hardening.  In the video I start with a #3000 stone and then drop back to a #2000. It is backward but I wanted to make sure the 3000 stone wouldn’t rip the gold out.  To see step 5 see https://zac.wnz.mybluehost.me/website_a640e8d6/?page_id=225

For more on traditional, lacquer based kintsugi see kintugi.com or https://zac.wnz.mybluehost.me/website_a640e8d6/?page_id=225

 

Traditional, lacquer based kintsugi, 3 hour workshop in Japan

Some photos of a 3 hour workshop I had last week in Nara, Japan. There were 5 people in it.

For more on traditional, lacquer based kintsugi see kintugi.com or https://zac.wnz.mybluehost.me/website_a640e8d6/?page_id=225

Traditional lacquer based kintsugi Traditional, lacquer based kintsugi, 3 hour workshop in Japan
Traditional lacquer based kintsugi Traditional, lacquer based kintsugi, 3 hour workshop in Japan
Traditional lacquer based kintsugi Traditional, lacquer based kintsugi, 3 hour workshop in Japan
Traditional lacquer based kintsugi Traditional, lacquer based kintsugi, 3 hour workshop in Japan
Traditional lacquer based kintsugi Traditional, lacquer based kintsugi, 3 hour workshop in Japan
Traditional lacquer based kintsugi Traditional, lacquer based kintsugi, 3 hour workshop in Japan
Traditional lacquer based kintsugi Traditional, lacquer based kintsugi, 3 hour workshop in Japan
Traditional lacquer based kintsugi Traditional, lacquer based kintsugi, 3 hour workshop in Japan
Traditional lacquer based kintsugi Traditional, lacquer based kintsugi, 3 hour workshop in Japan
Traditional lacquer based kintsugi Traditional, lacquer based kintsugi, 3 hour workshop in Japan
Traditional lacquer based kintsugi Traditional, lacquer based kintsugi, 3 hour workshop in Japan
Traditional lacquer based kintsugi Traditional, lacquer based kintsugi, 3 hour workshop in Japan
Traditional lacquer based kintsugi Traditional, lacquer based kintsugi, 3 hour workshop in Japan
Traditional lacquer based kintsugi Traditional, lacquer based kintsugi, 3 hour workshop in Japan

 

Traditional, lacquer based kintsugi, step 4, third hardening #4 gold on Karatsu tea bowl.

This video shows step 4, third hardening of  gold on  Karatsu tea bowl.. I applied the first hardening lacquer on Oct. 2, the second on Oct. 3, and now this hardening on Oct. 6th. I think it will take at least 1 more hardening before it is ready to polish.  To see step 4 see https://zac.wnz.mybluehost.me/website_a640e8d6/?page_id=225

For more on traditional, lacquer based kintsugi see kintugi.com or https://zac.wnz.mybluehost.me/website_a640e8d6/?page_id=225

 

Knowledge base for real lacquer kintsugi.