The Art of the Lacquer Craftsman (Nurishi): Specialist Artisans Who Bring Sword Fittings to Life Through Lacquer, Decorative Finishes, and Leather Wrapping

What is a Lacquer Craftsman?

The "Lacquer Craftsman" (Nurishi) is one of the specialist artisans who comprised the workforce for Japanese sword fittings (Koshirae). While the scabbard maker (Sayashi) carved the wooden base, the lacquer craftsman applied lacquer to finish the scabbard. The quality of the scabbard finish determined the overall impression of the entire sword and served as an important expression of the owner's social status, taste, and values.

The lacquer craftsman's work extended beyond scabbard coating to include reinforcement lacquering of the grip (Tsuka), repair and re-lacquering of scabbards, and lacquering of accessories such as sword boxes and display stands. Among the network of sword fitting artisans—including scabbard makers, grip makers, metalworkers, and polishers—the lacquer craftsman functioned historically as an independent specialist profession.

Types of Lacquer and Coating Techniques

The lacquer used by craftsmen was primarily "True Lacquer" (Honurushi), the tree sap from the lacquer tree (Urushi no Ki), sourced domestically. Depending on extraction and refining methods, lacquer is classified into categories such as "Clear Lacquer" (Sukiurushi), "Black Lacquer" (Kurourushi), "Red Vermilion Lacquer" (Shuuurushi), and "Mirror Lacquer" (Roiro Urushi), each producing distinct colors and luster.

The coating techniques were equally varied. "Mirror Finish" (Roiro Shitage) was the highest-gloss finish, achieved by layering multiple coats of lacquer and then polishing them to a mirror-like surface using Suruga charcoal and burnishing. "Stone-Grain Finish" (Ishime Shitage) left a slight textured surface with a matte appearance, and was frequently employed on samurai fittings favored by those who appreciated a more rugged aesthetic. "Maki-e" (scattered precious metal decoration) was a technique in which gold powder, silver powder, or colored powder was scattered onto the lacquered surface to create designs, and it developed as the highest-level decorative art for sword fittings.

Lacquer drying requires an environment of approximately 20–25°C temperature and 70–80% humidity. Craftsmen used specialized drying chambers called "Lacquer Rooms" (Urushi-muro) to manage drying between each stage. High-quality finishes often involved multiple intermediate sandings even for the base layers, with the entire process spanning 10–15 or more stages. Notably, the plain white scabbards (Shirasaya) traditionally stored for preservation were left unlacquered. Lacquer prevents the wood from breathing, making humidity management inside the scabbard difficult and risking rust on the blade.

Apprenticeship System and Technical Transmission

Training as a lacquer craftsman traditionally occurred through apprenticeship to a master. Instruction began with base preparation—wood grain adjustment, rust-proofing, and linen application—and progressed through middle coating, top coating, polishing, and burnishing. It was customary for an apprentice to train under a master for 5–10 years before being recognized as a fully qualified craftsman.

In modern times, lacquer art schools and craft specialization academies provide education, but apprenticeship under a master craftsman remains the most reliable path to independence as a sword-fitting lacquer specialist. Deep technical connections exist with domestic traditional lacquer production centers such as Wajima, Aizu, and Kyoto, and the lacquer techniques used in sword fittings are closely linked to regional lacquer craft culture.

Historical Development of Sword Fitting Lacquering

The history of lacquer craftsman techniques overlaps with the history of the Japanese sword itself. In Heian-period sword fittings, grand examples such as "Black Lacquer Swords" (Kurourushi no Tachi) and "Cord-Wrapped Swords" (Itomaki no Tachi) show the entire scabbard finished in lacquer. During the Kamakura and Muromachi periods, practical battlefield fittings became the norm, and durable, understated lacquer finishes were preferred.

With the advent of the Edo period and its lasting peace, the artistic value of sword fittings rose. Lavish scabbards decorated with maki-e and raised maki-e (Taka-Maki-e) were commissioned by daimyo families. Ceremonial and gift fittings that graced daimyo sword storage cases were transmitted to the present day as works of craft art that concentrated the skills of both lacquer craftsmen and gold-powder specialists.

Modern Lacquer Craftsmen—Crisis and Efforts at Preservation

The number of sword-fitting specialists has declined dramatically in the modern era. Reduced demand for swords combined with the aging of craftspeople has resulted in increasing cases of lacquer craftsmen retiring without securing successors. The Agency for Cultural Affairs and various traditional craft preservation organizations have worked to provide successor-training subsidies and establish training systems, yet support specifically tailored to the lacquer craftsman profession remains insufficient.

Conversely, as interest in sword fittings grows, young lacquer artisans have begun expanding their work to include scabbard lacquering. A gradual movement is emerging to re-evaluate the lacquer craftsman's work as part of a "comprehensive craft totality," with artisans collaborating with contemporary sword smiths to participate in every stage of a single blade's creation.

Types and Characteristics of Decorative Finishes

"Decorative Finishes" (Kawari-nuri) is a general term for scabbard lacquering that employs special designs and techniques distinct from the standard black lacquer monochrome finish. Below are the representative types:

Mirror Lacquer Finish (Roiro-nuri): Considered the pinnacle of lacquer finishing. After applying the top coat, the surface is polished with Suruga charcoal, then further burnished using abrasive agents such as horn powder (the powdered antler of deer) combined with raw lacquer, bringing out the lacquer's deep natural luster. This finish demands the most technical skill and time from the craftsman, as it involves dozens of stages.

Stone-Grain Finish (Ishime-nuri): A matte finish with deliberately retained fine surface texture. Because it provides anti-slip properties, it was frequently used on practical samurai fittings and is seen on the Higo-style scabbards, emphasizing material quality.

Leather-Wrapped Scabbard (Kawamaki-saya): A form in which ray skin (Same-gawa) or deer leather is wrapped around the wooden base. Unlike lacquer finishes, it presents a simple, rugged aesthetic. When adhering ray skin, the leather is first softened with water and pressed against the wood base; as it dries and shrinks, it sets permanently. Sealing the seams and smoothing the surface require high skill. In the "Satsuma Style" (Satsuma-goshirae) favored by Satsuma domain, deer-leather-wrapped scabbards were preferred, their pale-brown tone creating a beauty of austere strength distinct from black lacquer.

Abalone Shell Inlay (Aogai-nuri): A form of mother-of-pearl (Raden) technique. Shell material—such as abalone, nautilus, or butterfly shells—is polished to approximately 0.1mm thinness and inlaid into the lacquered base. Because of the shell's thinness, the black lacquer beneath shows through, creating a distinctive blue-toned iridescent luster. The transmission of mother-of-pearl techniques to Japan dates back to the Nara period through official exchanges with Tang China, and such techniques appear on treasures in the Shoso-in repository. In sword scabbard applications, abalone inlay was particularly prevalent on ceremonial fittings for daimyo and on personal dagger fittings for women.

Lacquer Craftsmen and Metal Fitters—The Division of Labor in Sword Fitting Construction

The lacquer craftsman's work functioned within a division of labor involving the scabbard maker, grip maker, and metalworker. Within this structure, a craftsman frequently mentioned alongside the lacquer craftsman is the White Metal Specialist (Shirogane-shi). The white metal specialist specialized in crafting the metal collar (Habaki) that is fitted at the junction between blade and grip. These artisans worked metals such as silver, red copper, and gold, shaping them to fit snugly against the blade. The habaki secures the blade when sheathed, preventing movement and absorbing impact during unsheathing. As specialization progressed from the Muromachi period onward, the white metal specialist emerged as an independent professional in habaki production, supporting the foundation of fitting construction alongside lacquer craftsmen and scabbard makers.

Historical Examples of Lacquered Scabbards

The "Black Lacquer Sword" (Kurourushi no Tachi) was a representative fitting in Heian-period samurai dress, featuring a scabbard finished entirely in black lacquer in an imposing style. The "Cord-Wrapped Sword" (Itomaki no Tachi) from the Kamakura period featured a form in which the upper portion of the scabbard was wrapped with twisted cord, combining the lacquer craftsman's work with the techniques of the cord-maker. During the Edo period, daimyo families commissioned elaborate maki-e fittings for wedding ceremonies and formal occasions, in which the lacquer craftsman applied the base coat and the maki-e specialist then scattered gold powder to complete the design—a collaborative effort passed down to the present day.