【Édition limitée à 5 exemplaires】Service à saké en laque d'Hiroshima

Unlike most lacquerware, which is created by applying layers of lacquer onto a wooden base (called kiji) made from trees such as horse chestnut, mizume, or zelkova, this sake set is crafted using the unique dry lacquer (kanshitsu) technique.

In this method, instead of wood, a mold made from plaster or styrofoam is used. Layers of cloth or Japanese paper are carefully applied with lacquer glue over a hardened lacquer undercoat, then the mold is removed to form the base. The shape can be built up by hand like pottery, allowing for natural, organic forms, or refined with tools like a potter’s wheel for a precise finish.

Because of this technique, dry lacquer lacquerware offers greater freedom of expression compared to traditional wood-based methods. While it requires much more time to complete, the result is a one-of-a-kind creation that radiates a strong sense of handcraft—truly a unique piece.

Tray ：Width：30cm Height：0.8cm
Cup ：Width：7.8cm Height：4.3cm
Sake pot ：Width：10cm Depth :15 Height：10.5cm

Dry lacquer
Lacquer

NAOYA TAKAYAMA

The Vanishing Lacquerware: Rediscovering Its True Value

With the spread of plastic products, chemical paints, and changing lifestyles, lacquerware has lost many of its once-frequent roles. Yet the natural functionality it offers possesses qualities that man-made materials can never replicate. Born from living in harmony with nature, lacquerware has a long history and a proven record of being cherished by countless people. With proper repair, a single piece can be used for a lifetime and even passed down to the next generation.

ARTISAN STORY

Naoya Takayama
Having studied the traditional art of Kyoto lacquerware, Naoya Takayama has refined his skills as a lacquer master while incorporating the roiro (polished black finish) technique to create highly distinctive works. He carries on the craftsmanship and spirit of the founder, Kiyoshi Takayama, and has received numerous awards for his artistry. His lacquerware, designed for everyday use, is crafted entirely from natural materials and expresses the refined texture unique to lacquer.

HIROSHIMA BUTSUDAN / HIROSHIMA BUDDHIST ALTARS

About 400 years ago / 1600s / Edo Period (1603–1868)

Hiroshima Buddhist altars developed in the early Edo period as the castle town expanded and Jodo Shinshu Buddhism became deeply rooted in the region. Techniques used for temple furnishings—gold leaf, lacquer, carving, decorative metal and maki-e—were brought together in elaborate household altars.

For Hiroshima families, the altar historically served not only religious practice but the memory of ancestors within the home. Large traditional examples are less common in modern interiors, yet the same skills are being adapted to compact altars and contemporary ritual objects.

Inside many altars is a miniature architectural structure called a kuguden, assembled almost like a real temple. Roofs, pillars, carvings and metal fittings overlap in multiple layers. From outside it appears to be furniture; inside it contains an entire small building.

Individual Differences

As each piece is individually handcrafted, slight variations in color, pattern, shape, and texture may occur. These subtle differences are a natural characteristic of handcrafted works, making each piece truly unique. We hope you will enjoy these individual variations as part of the beauty and character of Japanese craftsmanship.

Production Time

If an item is not currently in stock, it may be made to order by the artisan. As each piece is carefully handcrafted, production may take several months depending on the item and the artisan's schedule. We appreciate your patience and understanding.