Nara Lacquerware

Nara Lacquerware (奈良漆器, Nara-shikki) is a traditional Japanese lacquerware craft produced in Nara Prefecture. Closely connected to the region’s ancient temples and the long-established Buddhist artistic culture of Nara, this lacquerware tradition is known for its refined craftsmanship, solid wooden bases, and classical decorative techniques including maki-e, inlay, and coloured lacquer.

Overview

Nara Lacquerware represents one of Japan’s oldest lacquer traditions. It is characterised by:

• high-quality lacquer finishing,
• elegant classical motifs,
• production for temples, shrines, and aristocratic households,
• balanced use of decorative elements such as maki-e and raden (mother-of-pearl inlay).

The craft preserves techniques that have evolved alongside the cultural history of Nara since ancient times.

History

Nara has been a major cultural and religious centre since the Nara period (710–794), when it served as Japan’s capital. Lacquered ritual objects, liturgical furnishings, and sutra boxes from this era represent some of the earliest sophisticated lacquerwork in Japan.

Key historical developments:

• Nara period: large-scale production of ritual lacquer objects for temples such as Tōdai-ji and Kōfuku-ji.
• Heian–Kamakura: refinement of decorative lacquer techniques alongside Buddhist sculpture.
• Muromachi–Edo: expansion into utilitarian lacquerware for aristocratic and merchant households.
• Meiji–Taishō: participation in national exhibitions; transmission of classical techniques to modern ateliers.

Today, Nara remains an important centre for both traditional religious lacquerwork and contemporary lacquer art.

Characteristics

Features of Nara Lacquerware include:

• High-quality wooden bases
• Multiple lacquer layers using natural urushi
• Decorative techniques such as maki-e, raden, and coloured lacquer
• Traditional motifs inspired by Buddhist and classical Japanese art
• Balance between functionality and ornamentation

Compared with Kyoto Lacquerware, Nara pieces often show slightly more subdued colouring and classical motifs rooted in temple culture.

Production

The general process:

1. Preparing and shaping the wooden base
2. Applying foundational lacquer (nuritate)
3. Sanding and smoothing
4. Applying multiple layers of coloured or black lacquer
5. Adding decorations (maki-e, raden, gold leaf) when required
6. Polishing and final finishing

Workshops may specialise in temple furnishings, tea utensils, or household items.

Uses

Nara Lacquerware includes:

• trays, bowls, plates
• incense containers
• writing tools and boxes
• Buddhist ritual implements
• interior ornaments and furnishings

The ware is especially associated with temple artistry and classical interior design.

Nara Lacquerware Today

Nara maintains several longstanding lacquer ateliers, some of which specialise in conservation of temple lacquer objects. The craft is supported through cultural programs, artisan guilds, and educational initiatives emphasizing the preservation of traditional techniques.

See Also

• Japanese lacquerware
• Kyoto Lacquerware
• Kamakura-bori
• Aizu Lacquerware

References

1. Nara Prefecture Cultural Properties Division. “Traditional Lacquerware of Nara.”
2. Japan Traditional Crafts Aoyama Square. “Nara-shikki Overview.”
3. Association for the Promotion of Traditional Craft Industries. “Lacquer Traditions of the Kansai Region.” Tokyo, 2019.