Ryukyu Lacquerware Adorned with Vibrant Colors and "Tsuikin"

Ryukyu lacquerware is characterized by three main elements: its vibrant vermilion color, distinctive patterns, and large vessel forms. Technically, the most noteworthy feature is a unique Okinawan decorative technique called 'tsuikin.'

Tsuikin is a technique in which pigments are mixed into heated lacquer to create a putty-like substance. This is then rolled out thinly, cut into shapes, and applied to the object. Unlike the flat designs of *makie* (sprinkled picture) and *chinkin* (incised gold) common in other lacquer arts, tsuikin allows for three-dimensional expression, producing brilliant colors that don't fade under the intense tropical sun.

"You could also call it a technique for solidifying liquid lacquer," he explains. "We heat the lacquer, mix in pigments, pound it, and roll it out. Only through this process can we achieve such freedom in shaping." Creating this *tsuikin-mochi* (tsuikin paste) is a process that demands the intuition and experience of a master artisan, especially in managing temperature and humidity.

The wood used as the base, or *kiji*, for the lacquerware also has unique Okinawan characteristics. The main types used are "shitamagi" (Japanese snowbell) and "deigo" (Indian coral tree). Deigo, in particular, is one of the lightest woods in Japan and is highly resistant to warping as it dries. This gives it the advantage that even large, lidded containers like the "Tundabun" (a type of serving platter) characteristic of Ryukyu lacquerware maintain a perfect fit between the lid and body. Similarly, shitamagi has been prized for centuries for its resistance to cracking, even when carved with the pith intact.

Today, however, sourcing these Okinawan woods is becoming increasingly difficult. Since the Yambaru forest's designation as a national park and World Natural Heritage site, logging has been prohibited, making material procurement a major challenge. Kadena is exploring ways to preserve these traditional techniques, which includes using wood from outside the prefecture and building new supply chains.

The Spirit of Craftsmanship Embodied in 'Tianda'

In Okinawa, there is a term called 'tianda' (手脂). While it literally translates to 'hand grease,' in the world of cooking and crafts, it signifies the act of pouring so much time, effort, and love into one's work that the oil from one's hands becomes part of it. Kadena believes that this concept of 'tianda' is the spiritual backbone of Ryukyu lacquerware, the very source of a value that machine production can never replicate.

"It's more than just the physical marks of handiwork; it’s the creator's spirit that resides in the object," he says. "When that spirit connects with the user, the story behind the piece comes to life."

However, he doesn't simply cling to tradition. He champions the principles of *onko chishin* (learning from the past to create something new) and *fueki ryuko* (the constant and the changing), making a clear distinction between what must be preserved and what must evolve. The unchangeable elements are the lacquer material itself, the fundamental techniques, and the 'tianda' spirit. In contrast, he believes designs, applications, and even certain processes should adapt flexibly to the modern era.

A prime example of this is the adoption of digital technology. Kakuman Shikki has started integrating laser cutters and 3D printers into its production process. For instance, in *raden* (mother-of-pearl inlay) work, a laser cutter is used to precisely cut ultra-thin shells, which boosts yield and guarantees consistent quality. They also use 3D printers to create molds for the *tsuikin* technique and to produce prototypes, significantly shortening the development cycle.

"We preserve the beauty of handiwork while using cutting-edge technology for repetitive tasks or areas that demand high precision," he explains. "This frees up our artisans to concentrate on the more creative and technically demanding stages of the process."

Digital technology isn't replacing handiwork; it’s acting as a tool to augment the artisans' skills and support a more sustainable way of making things.

To the Modern Table: A New Expression Woven from Tofu and Lacquer

One of Kakuman Shikki's latest experiments is a unique technique that involves mixing tofu with lacquer before application. This is a modern take on a traditional method known as *kawari-nuri* (variant coating). Blending lacquer and tofu increases the mixture's viscosity and texture, resulting in a distinctively textured surface.

"It's a technique similar to *tataki-nuri* (a patting application), which was originally used on the backs of trays and other areas prone to scratches," Kadena shares. "By intentionally applying it to the main surface of our pieces, we've created a warm, matte finish."

Pieces finished with this method have a different feel from glossy, traditional lacquerware, allowing them to blend seamlessly into modern interiors and dining settings. Since both lacquer and tofu are natural materials, the tableware is perfectly safe for use. You can experience these pieces firsthand at the cafe operated by Kakuman Shikki.

Regarding the relationship between food and tableware, Kadena emphasizes the universal act of eating. "Humans have never stopped eating, not since before recorded history began. And when we eat, we always need a vessel. Ryukyu lacquerware is not merely a craft object; it is a tool that accompanies the fundamental human act of eating."

The Modernism of the 'Tundabun,' Blending into Daily Life

One of the most iconic pieces of Ryukyu lacquerware is the 'Tundabun.' During the Ryukyu Kingdom period, this hexagonal or octagonal lidded container was used to serve food to visiting Chinese investiture envoys (*sapposhi*) and officials from the Satsuma domain. Its interior is divided into several compartments, which were used to beautifully arrange and present Ryukyuan dishes.

While you could call the Tundabun the 'Ryukyuan hors d'oeuvres platter,' its demand has dwindled with the rise of nuclear families and changes in modern living spaces. But Kadena is breathing new life into the Tundabun, reinterpreting it for contemporary times to uncover new value.

Developed in collaboration with a historical researcher, the 'Modern Tundabun' retains its traditional form but is designed for use at outdoor gatherings and home parties. This concept was inspired by historical documents revealing that the Tundabun was also used for outdoor banquets in the past.

"Lacquerware is often seen as something reserved for special occasions, but I believe it should be enjoyed more freely and casually in our daily lives," Kadena says.

This effort to reintroduce the spontaneous conversations sparked by a unique serving dish and the 'spirit of hospitality' embodied by the Tundabun into modern life offers a glimpse into the future possibilities for Ryukyu lacquerware.

Forging Okinawan Identity Through Use

At the heart of all of Kadena's activities centered on Ryukyuan lacquerware lies a major theme: "reclaiming the identity of the Uchinanchu (Okinawan people)."

He senses a crisis: as globalization and the homogenization of information accelerate, the sense of belonging to Okinawa's unique culture and history is weakening. "It's a lonely thing when people can't speak about their hometown or don't know their own roots. By using and learning about Ryukyuan lacquerware, I want them to feel pride in their culture," he says.

Lacquerware is a craft that encapsulates Okinawa's history, trade, natural environment, and artisan techniques. Using it for daily meals is a way to engage with that cultural backdrop, an act that helps people connect with and affirm their own identity.

To achieve this, Kakuman Shikki is also pouring energy into developing new talent. The company actively recruits graduates from Okinawa Prefectural University of Arts and focuses on enhancing the skills of young artisans to ensure they remain in the craft. While lacquerware production once relied on a strict division of labor, the declining artisan population has pushed a shift toward multi-skilled craftspeople who can handle several stages of the process. This fusion of systematic university education and hands-on, practical knowledge is creating a more powerful collective of artisans.

"To ensure Ryukyuan lacquerware remains a part of Okinawan culture 100 years from now, we are steadily doing what must be done today. That is what 'layering the \"shima nu kukuru\"' means."