Lacquer and Japanese Swords—The Invisible Craftsman's Work

When discussing the beauty of Japanese swords, many people focus on the brilliance of the forged blade and the complex patterns of the hamon. However, the beauty of a sword is not complete with just the blade. The koshirae—the entire external fittings composed of the tsuka, tsuba, and saya—complete the sword's beauty. And the material that forms the core of the koshirae is lacquer (urushi).

The shichii (lacquer artisan) is an unpretentious yet indispensable figure in the world of sword craft. Each specialist—the nuriishi (lacquer painter), maki-e artist, and raden artisan—breathes life into the koshirae through their respective techniques.

The Role of Lacquer in Sword Fittings

Lacquer is not merely a decorative material. In sword fittings, lacquer serves multiple functions.

Protective function: By coating the wooden saya with lacquer, it protects the wood from water, moisture, and impact. After drying, lacquer forms an extremely hard film while retaining appropriate elasticity.

Adhesive function: Lacquer is used for joining saya components and fixing metal fittings. In the process called hon-kataji, a mixture of lacquer and grinding powder called sabi-urushi is used as the base coat.

Decorative function: The most visible function of lacquer is decoration. Different lacquering methods—glossy black coating (kuro-nuri), vermillion coating (shu-nuri), and amber coating (tame-nuri)—indicate the formality and era of the koshirae.

The Nuriishi's Work—The Saya Finishing Specialist

The nuriishi is a lacquer specialist who handles everything from base coat preparation to final finishing of the saya. The process is far more complex and labor-intensive than one might imagine.

Base coat process: First, sabi-urushi is applied to the wooden saya produced by the saya maker, filling surface irregularities. This process is repeated several times to create a smooth base. After drying, it is sanded smooth with a whetstone.

Middle coat: The middle coat lacquer is applied multiple times over the base. Each layer is completely dried and sanded before the next layer is applied. This repetition creates the final deep luster.

Final coat: Finally, the top coat lacquer is applied. For the finest saya, to achieve a perfect mirror finish without brush marks, lacquers such as bengara-urushi or nama-shōmi-urushi are selected according to purpose.

A famous technique of the nuriishi is kawari-nuri (varied lacquering). This technique involves mixing gold powder, silver powder, tin powder, crushed shell, and other materials into lacquer, or intentionally creating patterns during the lacquer's drying process. There are many varieties, including nashiji, kin-nashiji (gold nashiji), gin-nashiji (silver nashiji), ishime, and kin-ishime.

The Maki-e Artist—Painting a Golden World onto Lacquer

Maki-e is a uniquely Japanese lacquer art technique in which gold and silver powder are sprinkled onto designs painted in lacquer and then fixed with lacquer. Maki-e on sword fittings was one of the most eloquent indicators of a sword's status.

Maki-e is broadly classified into three types.

Hira-maki-e (flat maki-e): The basic technique. A design is painted in lacquer, gold and silver powder is sprinkled over it, then fixed with lacquer and sanded. The result is flat but can express intricate designs.

Togidashi-maki-e (burnished maki-e): An additional layer of lacquer is applied over hira-maki-e and sanded, creating depth by making the gold and silver appear embedded within the lacquer.

Taka-maki-e (high maki-e): A technique where designs are raised using lacquer and charcoal powder, and maki-e is applied to create three-dimensional effect. Motifs such as flowers, birds, and dragons appear to float three-dimensionally. This was frequently used in the koshirae of daimyo during the Edo period.

The Raden Artisan—Embedding the Brilliance of Shell into Lacquer

Raden is a technique in which the luminous interior layer (nacre) of shells such as nautilus, abalone, or wing clam is thinly cut and inlaid into the surface of lacquerware. In sword fittings, it is often used for decorating the saya.

The raden artisan begins with shell processing. Thin slices are cut out, trimmed and shaped to create pieces that match the design. These are fixed with lacquer, the surrounding area is filled with lacquer and sanded, resulting in a finish where the shell's luster appears to float within the lacquer.

Raden, which shines in seven colors depending on the angle of light, is particularly popular with foreign collectors. The raden technique, which originated in the furnishings of Heian-period nobility, is said to have been incorporated into sword fittings from the Muromachi period onward.

Modern Lacquer Artisans and the Crisis in Sword Fitting Craftsmanship

Modern sword fitting craftsmanship faces a serious succession problem. Craftsmen who once specialized in creating koshirae were concentrated in major cities such as Tokyo, Osaka, and Kyoto, but many workshops have closed due to declining demand since the period of high economic growth.

Currently, there are reportedly only about several dozen nuriishi who specialize in lacquered sword fittings nationwide. Maki-e artists are even fewer, and only a limited number of artisans can perform maki-e specifically for sword fittings.

In this situation, some sword smiths and koshirae craftsmen are exploring collaboration with other industries. Cases are emerging where lacquer artisans specializing in cultural property restoration handle sword fitting restoration, and graduates of universities and vocational schools in lacquer arts are transitioning to sword fitting craftsmanship.

Furthermore, growing international interest in Japanese lacquer arts is leading to increased international recognition of sword fitting craftsmanship. More Japanese lacquer artisans are receiving requests to restore daimyo furnishings and sword fittings held by Western museums and galleries, and techniques developed there are being returned to domestic sword fitting craftsmanship in some cases.

Deepening Sword Appreciation through Understanding Lacquer Artisans' Work

When appreciating the koshirae of Japanese swords, knowledge of the techniques of each specialist—the nuriishi, maki-e artist, and raden artisan—greatly deepens one's appreciation. The countless layers of lacquer built up within the seemingly simple black-lacquered saya, the precise gradation of gold powder in maki-e, the precision of raden cutting—all of these concentrate the invisible skill and time of the craftsmen.

Sword appreciation does not end with the blade alone. When Japanese swords are viewed as a whole, including the koshirae, they reveal themselves as true integrated artworks combining multiple craftsman arts: smithing, polishing, saya work, metalwork, and lacquer arts.