The Art of Japanese Urushi

The Art of
Japanese
Urushi

BEGINwww.mejiro-japan.com NERS GUIDE TO URUSHI LACQUER 3

INDEX

INTRODUCTION 01

URUSHI ALLERGY 04

URUSHI VS CHEMICAL PAINTS 06

URUSHI’S DRYING MECHANISM 07

URUSHI’S CHARACTERISTICS 08

TYPES OF URUSHI 09

PREPARING FOR URUSHI LACQUERING 10

FAMOUS URUSHI LACQUER TECHNIQUES 20

4

INTRODUCTION

www.mejiro-japan.com Dark red and black
lacquerware is a clas-
sic Japanese art form
that has been popular
for centuries around
the world. Gold, silver,
and mother-of-pearl
metallic powders are
often used to decorate
this exquisite lacquer-
ware, in a distinctive
style that is not pos-
sible to duplicate due
to the unique qualities
of the Urushi sap. The
smoothness, deep
hues and shiny luster
of the Urushi sap has
been coveted since
ancient times, dat-
ing as far back as the
Stone Age.

1

INTRODUCTION

Knowledge of the Urushi tree’s
lacquer qualities is believed to have
existed almost since the beginning
of man however its absolute origins
are debatable. Although the Uru-
shi tree is native to China, Japan,
and Korea, contemporary research
supports the idea that Urushi’s lac-
quer technology was first discov-
ered in China, and later introduced
to Korea and then to Japan. The
discovery of Japanese lacquerware
dating back to the Jomon period
(ca.10500-ca.300BC) however
supports the theory that Urushi
tree lacquer was discovered and
developed in Japan, independent of
China or Korea.

The sap of the Urushi (or lacquer)
tree has long been prized for its
ability to become very durable,

2

INTRODUCTION

mirror-like, and hard once it has 3
been exposed to air and moisture.
Urushi sap contains a resin that
will polymerize under these condi-
tions. This made it an ideal coat-
ing for bone, wood and pottery
objects in ancient times, increas-
ing the longevity, durability and
usefulness of many items. Early
man also used the unique adhe-
sive properties of Urushi sap to
attach points to their arrows and
spears.

A variety of Urushi lacquering
techniques are normally consid-
ered for professional use only,
however, amateur artists and
craftspeople can also enjoy the
art of Urushi lacquering provid-
ed they gain sufficient knowledge
about its use and safety.

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URUSHI ALLERGY

Prior to attempting any
Urushi technique, one
should be aware of the
following necessary
information:

The greatest challenge we have
encountered is the risk of an Uru-
shi allergy. In sensitive individu-
als, the Urushiol contained in the
Urushi lacquer can cause an aller-
gic skin rash. Many websites state
that the Urushi lacquer causes
an allergic reaction for most peo-
ple once they touch it. This is not
true. In our 20± years of Urushi
experience, most people have no
problem with proper handling of
Urushi. (Please do not believe ev-
erything you read on the internet
and let it scare you from trying
this wonderful art form!)

Urushi contains a compound that
can cause a reaction similar to
that of poison ivy, however prop-
er handling (gloves and a long-
sleeve shirt), and working in a

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well-ventilated area will generally prevent an allergic reac-
tion. We highly recommend that you apply body cream or
Vaseline to any area that may come into contact with Uru-
shi. Massage a small amount of the cream or Vaseline onto
your face, neck and arms before handling Urushi. These sim-
ple precautions can help you to avoid an allergic reaction.

Thanks to modern research and technology, a Low Allergenic
Urushi is now available for sale. Though it is not 100% allergy
safe, this type of Urushi is much safer than other traditional
Japanese Urushi lacquers. The risk of an allergic reaction is
extremely low due to the addition of a special protein sub-
stance that coats the Urushi and safeguards it from skin
exposure. If you are unsure of using a traditional Urushi,
please choose a Low Allergenic lacquer.

Some of our North American customers have informed us
that cleanser and protective lotion products used for poison
ivy work for Urushi as well. (Many can be found on Amazon.
com if you search “Poison Ivy Relief.”) You might want to
have them on hand as a precautionary measure before be-
ginning your work.

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URUSHI VS CHEMICAL
PAINTS

Unlike regular chemi-
cal paints which may
contain various toxic
components, Urushi
is a 100% natural
material and does
not contain any toxic
chemical additives.
It is safe not only
to the human body,
but also for our en-
vironment. Urushi is
an logically-friendly
painting material.

6

URUSHI’S DRYING 7
MECHANISM

Drying an item painted with Uru-
shi is entirely different from any
other drying process.
In most drying processes, moisture
will evaporate into the air however
the opposite is true with Urushi.
Urushi actually absorbs moisture
from the air in order to dry.
To be more precise, Urushi lac-
quer contains the laccase enzyme
which absorbs oxygen from mois-
ture in the air. This process hard-
ens Urushiol through oxidative
polymerization.

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URUSHI’S
CHA R AC TE RISTIC S

Some people mistakenly believe
that Urushi is difficult to handle
or that it wears off easily. These
claims are simply untrue.

Here are some true facts about
Urushi:
• The Urushi coating is very

flexible and durable, yet beau-
tiful.
• Unlike other painting materi-
als, Urushi lacquer can also be
used as glue due to its strong
adhesive qualities.
• Urushi can be applied in several
coats and polished. Because
of these characteristics,
Urushi can be used in Makie,
Chinkin and Raden art.
• Urushi’s drying time is adjust-
able. The more time you take,
the better the end result.

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TYPES OF URUSHI

Processed Urushi is categorized into three
major types:
1. Ki (pure) Urushi: Raw Urushi materials filtered

to remove dust and wood debris.
2. Suki (clear*) Urushi: Carefully processed

clear Urushi is used for top and base coats.
3. Kuro (black) Urushi: Black colored Urushi is

used for top and base coats.

Most Urushi is available in tubes. Please re-
place cap immediately after use as Urushi will
harden with air exposure. Dropping a bit of
canola or seed oil inside the cap will help to
seal the Urushi from air exposure and preserve
it for later use. Urushi can be stored in the re-
frigerator for up to one year, however for best
results, fresh Urushi is recommended whenever
possible.

* Please note. Although categorized as clear, Suki Urushi is actually translucent.

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PREPARING FOR URUSHI
LACQUERING

To apply Urushi lac-
quer you will need:
1. Urushi of your choice
2. Spatula
3. Small, quality knife
4. Muro – a drying

container usually
made of cardboard
or polystyrene
foam.

What is a Muro? A Muro is a box
(usually made of cardboard or sty-
rene) that closes completely and is
used to dry your lacquered object.
Be sure to keep it closed so there
is no air ventilation in the box.
Urushi normally begins to harden
with 75%-90% humidity at tem-
peratures higher than 15 degrees
Celsius. Ideally the muro should be
over 20 degrees Celsius.

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5. The Urushi Brush 11
We cannot stress
enough how cru-
cial the right brush
is for Urushi paint-
ing! All ‘authentic’
Urushi brushes are
made with animal or
human hair. Profes-
sional Urushi artists
are known for using
brushes valued at
more than $500 US
each. To paint any
fine object, you must
have a high quality
brush. The longer you
use it, the more com-
fortable it will feel in
your hand.

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PREPARING FOR URUSHI LACQUERING

Urushi Brush: Before Use
Flick the brush bristle back
and forth before use to re-
move dust and any loose bris-
tle. Then wash in warm soapy
water. The brush will also
perform better if it is left in
water for a few minutes before
beginning to paint. This soak-
ing will thoroughly moisten the
bristle or filament and condi-
tion it to accept the paint; it
also makes the brush easier to
clean.

Urushi Brush: After Use
After use, wash with soap and
apply a little bit of vegetable
oil (such as linseed or seed
oil).Be sure to remove this oil
completely before painting
with Urushi lacquer.

12

PREPARING FOR URUSHI LACQUERING

Brush Care Tips 13
A quality brush will last for many
years, and it will continue to
apply a smooth paint finish if it
is well cared for. There are some
things you should not do.
• Never stir the paint with a

brush.
• Never let a brush soak in wa-

ter for a prolonged period.
The bristle absorbs the wa-
ter which swells the ferrule,
sometimes causing the head
of the brush to become loose.
• Never leave a brush to harden.
Clean immediately with Tur-
pentine oil!
• After cleaning, apply a bit of
vegetable oil such as linseed
or seed oils.
• A little effort will protect your
brush and save you money.

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PREPARING FOR URUSHI LACQUERING

6. Filtering Paper
There are several
types of paper avail-
able for filtering Uru-
shi paints. The most
common product is
called “Miyoshino Pa-
per.” Use it as shown
in the diagram.

7. Pigments
There are a variety of color pig-
ments available for Urushi, so
choose a pigment suitable for your
project.
Flake White

This has been used since an-
cient times. Though it is fine,
robust and has high dryness it is
considered toxic. Please do not
use if you are not familiar with
proper handling.

14

PREPARING FOR URUSHI LACQUERING

Chalk 15
Calcium carbonate white
pigment. Often used in
Japanese-style painting.

Zinc Oxide
White pigment known from the
middle ages in Europe. Less
toxic and no color change due
to sulfide generation.

Titanium White
White pigment of pure oxidized
titanium.

Adjusting Urushi’s color is not an
easy task. It requires a great deal
of experience to be able to get the
right color, and we do not cover
this here.

If you prefer a pigmented Urushi,
you can purchase “Colored
Urushi.”

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PREPARING FOR URUSHI LACQUERING

8. Thinner
Turpentine or camphor oil is gen-
erally used for thinning. These
thinners are often available at an
art supply store or a hardware
store.
Because Urushi does not dissolve
in water, water is not a suitable
Urushi thinner. For this reason, if
you are exposed to Urushi lacquer
you should wash it off immediate-
ly with cooking oil, and then use
soap to clean the area further.

9. Magnolia Charcoal for Polishing
To achieve gloss on the surface
of your Urushi art, Suruga char-
coal is considered to be the best
choice however this item is only
shippable within Japan. You can
substitute magnolia charcoal with
sandpaper.

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PREPARING FOR URUSHI LACQUERING

10. Sandpaper 17
For achieving gloss on the surface.

11. Metallic Powders (for Kintsugi /
Makie)

Fine alternative gold and silver
powders are available in Japan;
nevertheless you are advised to
use genuine gold or silver pow-
der to apply on daily plates and
utensils, for safety reasons. If
your project is not going to be
used for eating and drinking
purposes, we highly recommend
using alternative gold/silver as
these powders are extremely du-
rable and hard to distinguish from
real metal powders. Alternative
gold/silver powders are also a
very economical choice!

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PREPARING FOR URUSHI LACQUERING

Filtering Urushi
Dust is a major issue
for Urushi lacquer!
There are almost
always fine particles
of dust floating in the
air which will land on
your lacquered ob-
ject as you work. If
your project requires
a delicate and fine
finish, you should
work in a room with
minimum dust and
you must wear clean
clothing. All lacquer-
ing supplies should
be placed near you
and you should try
not to walk around
the room. Before you
lacquer, be sure to

18

PREPARING FOR URUSHI LACQUERING

remove dust from 19
your brush as well.

To filter the Urushi,
use three to six piec-
es of paper to filter
a few times. (Ideally
three times) Normal-
ly, filtering requires
equipment such as
in the diagram, but
you can also filter by
hand-squeezing.

All filtered Uru-
shi should be used
up each time. It
shouldn’t be stored
for later use.

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FAMOUS URUSHI
LACQUER TECHNIQUES

Kintsugi (or Kintsukuroi) is the Japanese art of using lacquer,
dusted or mixed with silver, gold, or platinum powders to re-
pair broken pottery. It is similar to the maki-e lacquer tech-
nique. The philosophy behind this technique is to treat the
repair as part of the object’s history as opposed to treating
the repair as something to hide as if it never happened.

Maki-e, which means ‘sprinkled pic-
ture’, is a craft technique using Urushi
lacquer as adhesive to create a picture
on an item. This is achieved by sprin-
kling pure gold and/or silver powders,
and/or pure gold leaf on the carefully
applied Urushi lacquer lacquer as an
adhesive for gold dust or gold leaf,
to create a design on lacquerware. A
pattern is carefully carved into the
lacquered item’s surface with a fine
chisel, and raw Urushi is then rubbed
into the grooves. Gold dust or gold
leaf is then pressed into the raw Urushi
grooves, creating an intricate pattern.

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Fuki Urushi is a technique used to 21
highlight the beauty of wood’s
natural grain. Raw Urushi lacquer
is diluted and brushed onto the
wood. Once evenly coated with
the diluted Urushi, the excess
lacquer is gently wiped off with
Fuki Urushi paper or anon-woven
paper towel. The piece is then
dried. Once dry the wood is then
given a gentle polish with mag-
nolia charcoal (or sandpaper) and
the process is repeated as many
as 10 to 15 times. The end result
is a rich, high gloss finish that
highlights the wood’s natural
grain through the multiple layers
of Urushi lacquer, creating a lux-
urious, distinctive sheen.

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ARE YOUR VALUABLE URUSHI ANTIQUES
IN NEED OF RESTORATION OR REPAIR?
CONTACT US FOR A QUOTE TODAY!

Many people have Chinese or Japanese antiques
or historical art pieces such as pottery and dec-
orative items that were made hundreds of years
ago. Often these pieces are damaged or broken,
and restoration requires the expertise of a profes-
sional artisan.
Our professional, experienced Tokyo-based Uru-
shi artisan is available to complete your delicate
repairs. He was professionally trained in the art
of Tsugaru-nuri, which is one of the most famous
Urushi techniques originating in the Aomori region,
located approximately 700km north of Tokyo. Our
artisan’s specialty is refurbishing Samurai swords,
and he is an expert in the art of Urushi repair.

Your restoration is completed using only genuine
Urushi lacquer, which is a 100% natural painting
material with no chemical additives.We will restore
your item to its original condition or finish it ac-
cording to your specific request. Except for Jap-
anese swords, we restore items that are no larger
than 30cmx30cmx30cm (height/width/depth).

22

Please contact us to discuss your par- 23
ticular needs and to provide you with a
quote to complete the restoration!
For a minor Kintsugi repair, the cost is
usually $100 - $450 depending on the
size of the damage.
Non-genuine gold or silver powder will
be used for the repair unless otherwise
specified prior to commencing work. The
cost of using genuine metallic powder is
much more expensive. Please inquire.

*Additional cost of shipping back your
order will depend on the weight of the
item and its destination. It’s usually
US$20—US$100.

**Urushi lacquering takes weeks to dry.
Please allow 1—3 months to finish the
project. Be cautious of anyone offering
speedy repairs as true Urushi techni-
ques cannot be rushed.

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LEARN THE ART OF KINTSUGI REPAIR FROM
A PROFESSIONAL JAPANESE INSTRUCTOR
LESSONS IN OUR TOKYO STUDIO!

Once you learn the art of Kintsugi, you will be able to re-
pair your own broken pottery and porcelain in your own
home! Our instructor will teach you the traditional Japa-
nese method while you repair your own item in our studio.
Number of Lessons: Minimum of 4 (Each lesson must be
1-week apart to account for Urushi’s drying time)
Native Japanese speaker’s fee: 5,000 yen/day (2-hours)
Non-Native Japanese speaker’s fee: 10,000 yen/day
(2-hours)
Dates: To be arranged
Venue: Mejiro Tokyo Studio
Kintsugi materials to be supplied by us: Urushi/Oil/Brush-
es/Gloves etc.

Please bring your own china or porcelain item for repair. Be
sure your item is no larger than 20cmx10cm (width/height).

*Please wear work clothing as some Urushi may come into
contact with your clothing.

*As a precaution, low-allergenic Urushi will be used in our
studio.

You will be asked to sign a Waiver of Liability Form prior
to the start of your first lesson, as Mejiro Co. cannot be
responsible or liable for any damage, injury or health prob-
lems that may result from your use of Urushi or Urushi-re-
lated products.

24

DISCLAIMER

Mejiro Co. is not responsible or liable for any
damage, injury or health problems that may
result from your use of Urushi or Urushi-re-
lated products or any information obtained
from this brochure.

The use of any Urushi products and this in-
formation is solely at your own risk.

If you are exposed to Urushi lacquer, wash
it off immediately with cooking oil, and then
use soap to further clean the area. Please
see a dermatologist and be sure to tell them
that Urushi has similar compounds to that of
poison ivy.

All rights are reserved. 25
No part of this publication may be reproduced, stored in
a retrieval system or transmitted in any form or by any
means, electronic, mechanical, photocopying, recording
or otherwise, without prior permission of Mejiro Co.

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Mejiro Co., Ltd.
3-17-30 Shimo Ochiai, Shinjuku-ku,

Tokyo, 161-0033 JAPAN
TEL: 03-3950-0086 for English speakers

www.mejiro-japan.com

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