Tag Archives: traditional

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.

 

 

 

 

 

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, 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, 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

 

Traditional, lacquer based kintsugi, step 2, first application of hardening lacquer to #4 gold to a Karatsu tea bowl

This video shows step 2, first application of hardening lacquer  to #4 gold to a Karatsu tea bowl. I left the bowl in a muro for about 1 week to allow the red lacquer/gold to dry.  After thinning the lacquer with turpentine I apply it and then take the excess off with tissue.

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, gold on Buddhist figure

This video shows final finishing of gold on  a Buddhist figure. I applied gold and left it to cure for 1 week. Now in the video I do a quick brushing to get the excess, recoverable gold off and then use air to blow away the rest off the very porous surface.

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 1b, applying gold on Tibetan tsa-tsa figure

This video shows step 1b, applying gold to  a Tibetan tsa-tsa figure. I applied red lacquer and left it to cure for about 30 minutes before doing the gold application.  To see step 1b 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, masking for gold on Tibetan tsa-tsa figure,

This video shows masking  a Tibetan tsa-tsa figure. The stone is porous with a lot of holes in the surface.  The gold  will adhere to the stone surface  and get into the holes so it is better to mask around the target area.

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