Toshiharu Hisatsune

Yuzen is a unique, 400 year-old, labor-intensive textile dye process in which color is applied to fabrics by hand using tiny brushes to produce either solid colors, color gradation, or elaborate motifs. The result is a highly prized cloth with a rich artistic aesthetic used most often in high end kimono and accessories. Unfortunately, the use of traditional, natural dyes in Yuzen has declined drastically since the introduction of European chemical dyes in the late 1800s. Kanazawa-based Toshiharu Hisatsune, however, aims to transform the chemical-dye-dominated Kaga Yuzen fabrics found in the city of Kanazawa by reverting back to the natural dying culture that existed in Japan for hundreds of years. He has developed new natural dyes that produce exceptional color with greatly reduced drying time, and in doing so, Hisatsune has also brought hope to the his native, rapidly disappearing Yuzen dye culture. 

Urushi 漆, a completely natural lacquer coating, has been in use in Japan for 9,000 years. It is the world’s hardest and most durable coating, and can be applied to wood, metal, bamboo, glass, even over hemp cloth (known as “dry lacquer”). Not only it is a protective coating but it has anti-bacterial properties, is easy to clean, and increases the longevity of whatever it is applied to. Clear urushi coating on wood appears more lustrous and beautiful over time, and the wood grain becomes more prominent.

The clear, honey-colored sap from the lacquer tree (Rhus vernacifera) is collected by hand from incisions on the tree trunk; total output of the precious substance which can ever be extracted from one tree is only six ounces (177 cc).  Mineral pigments can be added to create any color, such as iron oxide for black urushi or red iron oxide for red urushi. 

During the Heian period (792 - 1185), lacquer-coated wooden functional ware was very popular and Japan became Asia’s undisputed lacquer master during the Golden Age of lacquerware which followed. The Portuguese introduced it to the west in the 16th century and it was widely spread in the 17th century by the Dutch East India Company, enthralling royalty and nobility alike. Marie Antoinette amassed a famous collection of lacquerware items. Japanese urushi ware dazzled the west as Japanism spread during the Belle Époque.

Mother-of-pearl inlay is a process of embedding pieces taken from the iridescent inner layer of mollusk shells (abalone or oyster shell, etc.) into urushi. The pieces of shell are arranged in decorative motifs and most often cover a wooden base.  The Japanese adopted this methodology from the Chinese in about the 7th century CE.

Maki-e, the most famous urushi decorative technique, is a 1200-year old, native Japanese process involving the sprinkling of gold or silver power on a decorative design of still wet urushi. Makie motifs can either be in burnished, flat or 3-dimentional raised form.

Hyomon is the embedding of metal sheet as an inlay on an urushi surface

Chinkin is the application of gold into decorative patterns which are incised into the surfaces of urushi vessels. 

Kinma involves incising decorative motifs in an urushi surface and filling it with colored urushi. It is believed to have originated in Southeast Asia.

Choshitsu is carved lacquer achieved by applying many layers of colored lacquer, usually to a wooden surfaces, then using a metal carving knife to engrave 3-dimensional designs.  It takes at least 100 layers of urushi to achieve 3mm for carving. The technique most probably came from China about 800 years or more ago.