The Wooden Base (*Kiji*) of Tsugaru-nuri: Aomori Hiba, the Source of Its Durability

To truly understand the quality of Tsugaru-nuri, we have to start with its foundation: the wooden base, or *kiji* (the wooden form of the vessel). Tsugaru-nuri primarily uses a wood called 'Aomori Hiba.' This choice isn't simply a matter of local availability. The exceptional properties of Aomori Hiba are what form the bedrock of the 'robustness' for which Tsugaru-nuri is renowned.

Aomori Hiba is rich in a compound called hinokitiol, making it renowned for its potent antibacterial, antiseptic, and insect-repelling properties. A testament to its superior durability is its use in the construction of the Konjikido (Golden Hall) at Chuson-ji Temple, a UNESCO World Heritage site. Furthermore, it is resistant to water and moisture and boasts a dense, beautiful wood grain.

The creation of Tsugaru-nuri involves a painstaking process of applying dozens of layers of lacquer, each followed by drying and polishing. This subjects the base material to extremely harsh conditions. However, the inherent strength of Aomori Hiba allows it to endure this rigorous process, preventing any warping or cracking. The quality of Tsugaru-nuri is, without a doubt, built upon the power of this incredible wood.

According to the national regulations for Traditional Crafts, other woods like *hoonoki* (Japanese bigleaf magnolia), *katsura* (Japanese Judas-tree), and *keyaki* (Japanese zelkova) are also permitted in addition to Hiba. Understanding the unique properties of each wood and selecting the right one for a specific piece is a mark of an artisan's wisdom. This dedication to the foundational wooden base is an invisible, yet crucial, element that supports the value of the final product.

Diverse Expressions Woven from Lacquer and Natural Materials

It's natural urushi (lacquer) that breathes life into the sturdy wooden base. In Tsugaru-nuri, as stipulated by its designation as a traditional craft, the lacquer used must be purely natural. Artisans skillfully employ various types of lacquer—like ki-urushi (raw, unprocessed lacquer), black lacquer, and colored lacquers—depending on the specific process and the desired artistic effect.

The magic of Tsugaru-nuri lies in the clever techniques used to maximize the lacquer's properties and the creative flair for incorporating everyday natural materials. What's truly fascinating is how each of the four signature techniques uses a different natural material as the "seed" for its unique pattern.

For example, to create the intricate spotted pattern of "Kara-nuri," the most iconic Tsugaru-nuri style, artisans use a special lacquer called shibo-urushi, thickened with egg whites to increase its viscosity. They then use a tool called a shikake-bera (patterning spatula) to dab this mixture onto the surface, creating a three-dimensional, textured base.

In "Nanako-nuri," known for its charming, small ring patterns resembling komon textiles, artisans evenly sprinkle rapeseed over the wet lacquer. This creates its signature pattern of countless tiny circles. Once the lacquer hardens, the seeds are removed, leaving behind their impressions as small rings—an ingenious concept that harnesses the power of nature.

Moreover, "Monsha-nuri" achieves a serene beauty through the contrast of glossy and matte finishes. This technique uses charcoal powder made from burnt rice husks (momigara). In the local Tsugaru dialect, rice husks are called sha. This powder is sprinkled onto a lacquered surface and then polished, creating a matte texture that absorbs light.

Egg whites, rapeseed, and rice husks. These materials are a testament to how artisans of the past found beauty in everyday items and elevated them into a sophisticated craft. This profound understanding of natural materials and the ability to integrate them into their art is truly the wellspring of Tsugaru-nuri's creativity.

Today's Hurdles: The Dwindling Supply of Domestic Lacquer and Woodworking Artisans

As we've seen, Tsugaru-nuri is built upon materials nurtured by Aomori's abundant nature and the ingenuity of its artisans. Today, however, the supply chain for these essential materials faces serious challenges that threaten the craft's future.

The first issue concerns urushi (lacquer), the very essence of the coating. Currently, around 90% of the lacquer used in Japan is imported from China, with domestic production accounting for a mere 10%. While demand for Japanese lacquer has been rising, particularly for restoring cultural properties, production has stagnated due to an aging workforce of lacquer tappers and a shortage of successors. This imbalance between supply and demand could lead to soaring prices and make lacquer difficult to obtain in the future.

Another challenge relates to the Aomori Hiba cypress wood used for the wooden bases. While prized for its superior qualities, Aomori Hiba is a finite natural resource. With dwindling reserves, logging is now restricted, meaning the wood is no longer as abundantly available as it once was.

Even more pressing is the situation on the ground for the creators: the aging of the kijishi—the master artisans who craft the wooden bases—and the severe lack of successors. One workshop reported that the only kijishi they work with is a single man over 80 years old, who has no one to take his place. The precious, knot-free wood he has spent decades drying is now irreplaceable, essentially one-of-a-kind. If the kijishi disappear, the very vessels needed to create Tsugaru-nuri will cease to exist. This highlights how the Tsugaru-nuri industry is inextricably linked to the sustainability of broader domestic sectors like forestry, lacquer cultivation, and woodworking, as well as the preservation of their respective artisanal skills.

Future Possibilities Born from a Dialogue with Materials

Despite the serious challenges surrounding materials, artisans in their workshops are beginning to forge new expressions by earnestly engaging with their core components. This isn't just about preserving tradition; it's a dedicated effort to explore the untapped potential of these materials.

For instance, some studios are developing and applying new materials that challenge the traditional concept of lacquer. A prime example is 'Translucent Tsugaru-nuri.' While lacquer has conventionally been used for color, artisans are now experimenting with a highly transparent variant. This allows light to pass through, creating a brand-new form of expression where patterns emerge like stained glass. This ethereal beauty echoes the glowing lanterns of Aomori's Nebuta Festival, illuminated from within, suggesting that the region's iconic scenery may have sparked the idea for this material innovation.

We're also seeing attempts to bring out the material's character in new ways by innovating the lacquering and polishing techniques. Some products are now being developed that intentionally leave the underlying uneven texture, rather than polishing the surface to a perfect smoothness. This allows people to enjoy the unique 'feel' of the lacquer. For those of us who have only ever seen the finished pieces, this offers a fascinating glimpse into the inherent charm of the Tsugaru-nuri creation process itself.

These developments suggest that the future of Tsugaru-nuri is about more than just inheriting past techniques. It is the spirit of inquiry—the drive to overcome material constraints and the fresh perspective to rediscover the inherent appeal of the materials themselves—that will shape the craft for the next generation.