Odawara ShikkiOdawara Lacquer Ware

It is in the middle of the Muromachi era, and it is said to be opening to have painted container of turnery made using abundant wood of Mount Hakone origin with lacquer.
Technique of Aya lacquering (be and sell and paint) was begun afterwards by having invited Laquer Ware craftsman under the castle because Hojo who ruled over this district developed Odawara Shikki. We come to paint arms with lacquer other than daily necessities such as tray, bowl in the Edo era, and it is thought that technique made with Laquer Ware was established as practical Laquer Ware.

The earliest examples of this ware were pieces of lacquered turned goods made from the plentiful supplies of wood available from the mountains around Hakone in the Muromachi period (1333-1568).
Some time later, the technique of applying colored lacquer known as iro-urushi-nuri was introduced when Hojo who governed the area at the time, invited lacquer ware craftsmen to come to the castle town in order to develop the local craft. It seems reasonable to suppose that the required became established during the Edo period (1600-1868), when lacquer was used on weapons and armor as well as for household goods such as soup bowls and trays.

The special features of this ware are the craftsmanship of the turnery and the way in which the lacquer brings out the beauty of the natural grain to the full. There are two types of lacquer ware, kijiro-nuri on which clear lacquer is used and suri-urushi-nuri. For this raw lacquer is rubbed well into the polished surface of the wood. Even today, bowls, plates, trays and coasters are the principle items produced sustaining this craft.

  • Notification

    skills and techniques

    Bare wood structure uses potter's wheel stand and birokurogannao, and mold.

    tourushi is thing by any of the following.

    After finishing with water polishing when we look good with "suriurushito", and repeating refinement unrefined varnish to bare wood directly, and stealing, and having done lacquer, you perform trunk commission, and perform "finish woodcut print" and "polishing woodcut print" using thing which added seisei* tsuya lacquer to refinement unrefined varnish.

    When is in mokujiryoto, thing by the next technique or technique.

    After groundwork structure doing bare wood hardening using purified unrefined varnish, and having done "eyes pickpocket rust" using thing which mixed dust with purified unrefined varnish, do water grind.

    After having applied seisei*chutourushi, average coat grinds water grinder.

    Final coating is thing by any of the following.

    Apply toritsushijo geniatteha, seisei* tsuya lacquer.

    After applying seisei* roiro lacquer or refinement nashiji lacquer when we encounter roiro finish, and having performed "roiro grind" and trunk commission, repeat that you do pickpocket lacquer using refinement unrefined varnish and do "roiro polishing".

    When meet Aya lacquer ware maker, thing by the next technique or technique.

    After groundwork structure doing bare wood hardening using purified unrefined varnish, and having done rust charge account using thing which mixed dust with purified unrefined varnish, do water grind.

    After having applied purified black average coat lacquer, average coat grinds water grinder.

    Final coating apply vermilion lacquer or purified black roiro lacquer.

    After "we polish final coating" and having performed trunk taking a percentage when we finish with roiro, repeat that you do pickpocket lacquer using refinement unrefined varnish and do "roiro polishing".

    Raw materials

    Assume lacquer natural lacquer.

    Assume bare wood zelkova, sen, hoe or material having materials which are equal to tochi or these.


  • Work scenery

    Firstly saw, and is bare wood, and, in the case of Odawara Shikki, come, toitteiidesho. We make use of grain of wood beautifully and, using the skill of superior potter's wheel, saw. Therefore grain of wood becomes more attractive still more when we painted with fascinating lacquer with transparence.

    Process 1: Bare wood processing

    1. We sort raw wood according to kinds of lumber and do choice tree to balance with use and dimensions. We cut raw wood using circular saws if we decide dimensions (raw wood sawing).

    2. We check state of the materials surface and are based on Kiguchi side of ink effect in conformity to product and we saw with circular saw or endless saw board and break (timber conversion). And we model using compasses and do and cut off.

    3. Fix materials by maintenance nail well, wild; saw, and make approximate form using plane (plane) (wild saw).

    4. It is basic to perform drying of wood while giving temperature and humidity. We burn sawdust and dry water in wood with kusuburi (kun) smoke. We make preventive handling of Kiguchi breaking next and dry material which went harsh (ku) ri in accumulation, smoking drying room. We let you take out and naturally dry afterwards.

    5. We saw the inside and sharpen with plane until just before the finish dimensions and smooth off the surface in smoothing plane. Furthermore, we apply water to bare wood side and polish up using scouring rush (profit) carefully.

    Process 2: Lacquer processing

    1. We print spatula or breastplate and it is brush and applies unrefined varnish (the same sap which we could come and gathered from tree of = lacquer) to bare wood and we print well and are crowded. We wipe extra lacquer with cotton cloth and put up, and take a dry bath and dry for one or two days. We paint with unrefined varnish again and dry.

    2. We polish and polish water with potter's wheel and do to prepare skin of grain of wood and to raise lacquered adhesion by this woodcut print work repeated later.

    3. We apply unrefined varnish to the entire surface and we wipe carefully and put up in cotton cloth without pausing. We repeat this seven or eight times. We wipe if it includes this woodcut print, and chance of advance needs art. Amorous glances worsen when too early and become hard to wipe when too late.

    4. Oil kneading on fire to attaches powder to cotton cloth which we soaked with water and prints trunk evenly and does and we polish lacquer film side and smooth off. Then, we grind only dust and are crowded.

    5. We apply a thin coat of thing which added shugourushi (shuaiurushi = * tsuya lacquer) to a small amount of unrefined varnish and wipe and give to let luster last (we finish and print). We can take a dry bath and dry for two or three days and become completion.

    mokujiryo (kijiro) coat
    1. We grind unrefined varnish in unvarnished wood place and are crowded and polish well. We grind lacquer rust in the whole bare wood and are crowded to let we do filler, and grain of wood cheer up (rust pickles). We perform these approximately two times of work and leave unattended for two or three days.

    2. We polish and perform rust with whetstone, abrasive paper to individualize grain of wood. We do rust pickles in insufficient place including woodcut print of lacquer rust and we mend and polish rust. We paint with unrefined varnish and make rust hardening and can take dry bath.

    3. We paint with mokujiryorushi (thing which pulled moisture of unrefined varnish) which did suki (come) in Yoshino paper to make light lacquering side (give a first coat). We can take a dry bath and dry for one or two days.

    4. We polish and work as priming grinder with charcoal or abrasive paper to raise coherency of average coat. Then, we paint with mokujiryorushi smoothly to give transparency more so that film thickness becomes uniform (average coat) dry in drying bath for one or two days. We polish charcoal and do thing which performed average coat.

    5. We paint evenly equal thickness with mokujiryorushi so that there is not garbage without taking out mark of brushing (final coating). We dry in dry bath for two or three days.

    6. We sharpen water with abrasive paper and do and polish with small abrasives of particle more. Then, we polish with oil dust and grind unrefined varnish well and are crowded. We repeat two times of unrefined varnish after this and print and are crowded, but we polish makeup with powdered antler before the third drains dry and do. It is completion of mokujiryoto in this.



  • Close-up

    Odawara Shikki that the high skill offers a glimpse in plain flavor

    We made use of blessing of the rich forest which opened behind city area, and Odawara Shikki raised the first cry. Coming mokujiban kino technology affects the background deeply from old days of Muromachi. We make use of the ancient skill in now, and Odawara usually forms big production center as Laquer Ware of errand.


    Simply because there is mokujiban kino history

    The castle tower of elegant figure rises on hill overlooking the sea of Sagami. Here is doorway, Odawara of Hakone. mokujiban kino technology was born against a backdrop of the rich forest which opened in the neighboring whole area, and it was afterwards in big production center of Laquer Ware by adopting technique of lacquering positively. It is birth of Odawara Shikki to say in the life.
    We sail up to saw bare wood with potter's wheel performed using wood produced in mountains of Hakone in the middle of Muromachi era (by another view with the Heian era) in the origin. Kii Shinto shrine enshrined in city, Hayakawa is lathe work and deep shrine of relationship (connection). The ikyo (we burn this) Imperial prince considered to be father of woodworker is worshiped, and it is said that the place name called mokujiban is still left in the outskirts.
    It is the big feature that what is used for Odawara Shikki fully keeps zelkova materials, grain of wood of nature alive mainly. Lacquer ware maker of transparence lives simply because there is superior turnery technology. In current Odawara, complete division of labor system is spread by the making of bare wood and lacquering, and the mass production system is set, too. And dining table article appropriate to living, bowl, plate, tray, bowl, cooked-rice container, cake bowl, tea ark continue being made.

    • Kii Shinto shrine which is enshrined in Odawara city, Hayakawa. Local people call "shrine of tree" with friendly feeling. Bare wood bowl of product is informed as company treasure for the Muromachi period

    • Work of Okawa. Beauty of all grain of wood is excellent

    Odawara Shikki which we usually use and have and are easy to get close to

    Kiyoshi Okawa of woodworker entered this world under the influence of older brother at 18-year-old time.
    "Those days when we began did not have machine. It is areban kioshitamonda by handwork. It was work to need power. We handled speculation including felling of growing tree in those days." For Okawa who dealt from sawing of raw wood, it is said that it is hard to change joy when we found tree having good eyesight to anything else. This is because complicated eyes are valued high as wood.
    "The good or bad of eyes understood in made state if we looked at peel of a raw wood skin." Manufacturing bloom considerably did, and, in the 30-40 generation of the Showa era, town of Odawara was energized by production and export of Woodcraft, too. "We did not catch up with even if we made even if popularity of salad bowl in particular was high and could sleep and made." Sound to turn potter's wheel everywhere sounded in Odawara-shi just three, approximately 40 years ago. It is said that we counted 300 woodworkers, more than 100 painters in the golden age. It is decreasing to 30 and five each now. It will be place where successor upbringing requires expectation in future.
    Of course, price is more economical than other Laquer Ware, too, and you usually use, and have charm of Odawara Shikki. In flavor not to be affected, technique of high ban kito coating offers a glimpse. Scenery of beautiful forest surrounding castle town Odawara revives whenever we see the beautiful grain of wood design and will be to attach new color to dining table.

    • Jumbo tree bowl which was displayed by city hall. Bath basin has size

    • Tray work of Okawa pride. Eyes were complicated complicatedly; it is unusual

    Craftsman profile

    Kiyoshi Okawa (we dry and are good)

    It was born in 1930. "We made jumbo device with all of association. Please come to see as it is displayed by Odawara-shi government office"

    Kiyoshi Okawa of woodworker. We act as traditional Odawara Shikki cooperative association director now


    The oldest lathe work in Japan is high cup of Yayoi period


    • Bare wood bowl which comes to Kii Shrine of Hayakawa

    • One million small three-storied pagodas which were made using potter's wheel



Industrial art object name Odawara Shikki
Phonetic symbol odawarashikki
Classification of industrial art object Laquer Ware
Main product Tray, plate, bowl, saucer for a teacup (saucer for a teacup)
Main production area Kanagawa / Odawara-shi
The designation date May 31, 1984

Contact information

■local production associations

Traditional Odawara Shikki association
621, Kuno, Odawara-shi, Kanagawa
Kanagawa industry technology center
The fourth floor of the industrial arts research institute
The association of Hakone product society
TEL: 0465-32-5252
FAX: 0465-32-5253

■Associated exhibit space, facility


Coating that we made use of technique of turnery being superior and beauty of grain of wood of nature in enough is characteristic. There are suriurushito (we can lose and paint) and mokujiryoto (kijironuri) to make use of enough without spoiling beauty of grain of wood.

Odawara shikki is unique for its advanced wood turning techniques and lacquer that reveals the full natural beauty of the underlying wood grain. Instead of hiding the wood grain, the key techniques of Suriurushi-nuri, applying extremely thin layers of lacquer, and Kijiro-nuri, using a finishing lacquer of incredible clarity, bring out the full beauty of the underlying wood.

How to make

The making of bare wood makes form using potter's wheel stand and potter's wheel plane (plane). Form polishes using result taratokusa. "suriurushito" includes suri (do) ri, and we repeat work called trunk print many times, and it finishes unrefined varnish to bare wood directly. "mokujiryoto" applies transparent lacquer and finishes, and "Aya lacquer ware maker" paints the groundwork and middle coating equal to layer between final coatings with black lacquer and we paint final coating with cinnabar red lacquer or black lacquer and finish.

A spinning lathe or turning lathe is used for the initial shaping of the wood. Once it is shaped, it is polished with natural rushes to prepare it for lacquering. The first lacquering step of Suriurushi-nuri involves applying an extremely thin layer of raw lacquer to the wood, waiting for it to be absorbed and then applying another layer countless times. In the next step of Irourushi-nuri, black lacquer is applied as a base layer, and after it dries another layer of red or black lacquer is applied on top, which brings out a deep luster. For the final step of Kijiro-nuri, top coat of incredibly clear lacquer is applied to finish the product.