CHOSHITSU
The Eternal Beauty of Japan Unveiled through Layering and Carving
Among lacquer crafts, choshitsu, or “carving lacquer” is the most time-consuming and labor-intensive, and embodies the beauty of three-dimensional depth and preciseness. The lacquer is applied and dried many times, and then the surface is carved with a small knife to create patterns in delicate gradations of color. The surface is then carved down to the desired color layer to reveal the color of the underlying lacquer, which is then used to create richly artistic patterns depending on the carving conditions and angles.
The depth of the three-dimensional effect of the carving is enhanced by applying dozens or even hundreds of coats of a single color to create a thick layer of lacquer. It is impossible to know what kind of pattern will appear after repeating the process of coating, drying, and polishing until the carving is done. In addition to the techniques of lacquering and carving, creativity, precision, patience, and aesthetic sense, all of which must be at a high level, are required to achieve carved lacquer work.
Uesugi Manju Kobo, located in Higashiyama ward of Kyoto, is a small family-run studio that has been in operation for about 100 years. Gakusui Uesugi, now the fourth generation, has found his own high point as a craftsman in choshitsu. The world of lacquer consists of a system of division of labor.
The process usually begins with the selection of a design, followed by a woodworker who makes the wood from the lumber, a craftsman who prepares the base, another craftsman who applies the lacquer over and over again, and finally a maki-e lacquer craftsman who applies the decorations. However, Gakusui’s father, the third-generation of the studio who was specialized in making tea ceremony utensils in addition to furniture, established a system where only family members were involved, allowing for integrated production of base coating, painting, and sprinkled design.
Although Gakusui was born to a father who was a craftsman, he never thought about taking over the family business when he was young. Only when he was nearing the end of his college years and thinking about finding a job did the idea of taking over the family business pop up in his mind. In fact, he has always liked to make things.
When he got involved in manufacturing, he found himself surprisingly absorbed in the technical aspects of the craft. Wanting to learn more deeply, he first spent four years in Yamanaka, Ishikawa Prefecture, training on the woodworking wheel.
He became proficient at the wheel, but his desire to create something truly satisfying and that only he could do led him to search for a skill that others were not doing. What he found, finally, was choshitsu, or carved lacquer. He then went on to further training in Kagawa Prefecture.
“In my work, I apply lacquer about 180 times. After that, in the carving process, I have to be well versed in the handling of chisels. The technique of the wood, the technique of the base, the technique of applying the lacquer, and the technique of carving. All are required at a high level of skill. Since changes cannot be made during the process, it is necessary to have a clear image of the final shape before starting to make the piece. If I ask someone else to do it, it is difficult to convey the details completely as I imagined. That is why I do everything by myself,”stated Gakusui.
Gakusui’s attention to detail and meticulous process limits the number of products he can make to only five or six a year. When he has an image of what he wants to make, he first tries to make it with clay. After that, he makes a wooden base, prepares the base, applies the lacquer (at least 100 times, sometimes 180 or more), lets it dry, and then polishes the piece. After one coat of lacquer is applied, the craftsman has to wait for the lacquer to dry completely before polishing.
The process of applying lacquer can only be done once a day. Even if each coat is only 0.1 mm, if the unevenness is repeated more than 100 times, it will become a large error in the end, so he takes utmost care on polishing. Surprisingly, he often takes two years from the time the desired shape is conceived to its completion.
“Lacquer changes from a liquid to a solid state due to chemical changes in humidity and temperature. For example, on rainy days, the lacquer shrinks because of the high humidity, so there are times when only a very thin layer can be applied. The more I carve, the more the gradation of the lower layers of lacquer appears, so it is important to keep in mind the shape of the piece that will be reflected in the lacquer. I would be happy if people could feel the delicacy of the Japanese climate, sense of color, and sense of beauty through carved lacquer.”
Gakusui’s choshitsu requires a much greater number of coats of lacquer than other carved lacquer. The reason why he spends so much time and effort on this process is because of the colors and shapes that can be expressed by carving on the thick layers of lacquer. One of his strengths is that he is able to consistently finish everything with his own hands. Gakusui’s choshitsu emanates such elegance and dignity. His exploration to deepen his creativity will continue.
For inquiries about Uesugi’s choshitsu work, contact Ueda Arts. For about other work, contact Uesugi Manju Kobo “Atelier Manju.”