Hata Manabu Hata-Shikki-ten

Hello, could you introduce yourself and tell us the story of Hata-Shikki, founded in 1930 ?

Hata-Shikki-ten is based in Yamanaka Onsen, Kaga City, Ishikawa Prefecture, where we are engaged in the production of “Yamanaka lacquerware.” The company’s origins date back to 1930, when my grandfather, Hata Unomatsu, began working independently as a urushi hand-painter. Later, together with the second generation, he established Hata-Shikki-ten, expanding into all aspects of lacquerware.
I am the third generation, Hata Manabu. After gaining experience in the lacquerware distribution business in Tokyo, I now oversee the entire process from planning and production to sales. In addition to traditional lacquerware, we also create wooden products that highlight the natural texture and beauty of the wood itself, while upholding the heritage of Yamanaka lacquerware and exploring new possibilities for the craft.
Traditional crafts are often appreciated mainly for their sophisticated techniques, but I believe their true essence lies in creating tools for daily life. From this perspective, adapting forms to the needs of changing times is inevitable, and I see it as an essential practice to carry tradition forward into the future.

Could you explain the different stages of Yamanaka lacquer production and the role of each in the process?

Yamanaka lacquerware is created through a system of division of labor: the kijishi (woodturners) who craft the wooden base, the nurishi (lacquer artisans) who apply the lacquer, and the akindo (merchants) who handle planning and sales. By working together as one, these craftsmen have carried on and sustained the traditional techniques of Yamanaka lacquerware to this day. Within this system, Hata-Shikki-ten has primarily taken on the role of the merchant, preserving the traditions handed down through generations while at the same time exploring new designs and possibilities. For many years, our focus was on wholesale, but in XNUMX we opened our own retail shop. Having a place to sell directly to customers has given us more opportunities to meet them face-to-face and to let them experience our pieces firsthand. It has also allowed us to hear their genuine feedback, which has become a valuable source of inspiration in shaping the direction of our work.

How does this environment influence your practice and your creations ?

Yamanaka has been a center of lacquerware production for over XNUMX years. It is renowned as “Yamanaka of woodturning” (kiji no Yamanaka) for its exceptional wheel-turning techniques. A culture of division of labor has long been established here, with kijishi (woodturners), nurishi (lacquer artisans), and makieshi (gold and silver lacquer decorators) each specializing in their craft. The accumulation of these skills has made it possible to create works of the highest quality. Moreover, the region’s humid climate provides ideal conditions for drying lacquer.

Interaction with fellow craftsmen and inspiration drawn from the surrounding natural environment are essential to my daily work. It is precisely because I am rooted in this place that I feel able to carry on tradition while also fostering new ideas. Growing up in such an environment has become the very foundation of my craftsmanship.

What is your process for creating a new object ? 

The creation of a new piece begins with selecting the right material. I consider the natural qualities of the wood, such as its grain and hardness, and decide on a form that will best highlight those features before shaping it on the lathe. From there, the piece goes through multiple stages - grounding, lacquering, and finishing.
Lacquering in particular requires patience: each layer is applied, dried, polished, and then reapplied, repeating the cycle many times until the work is complete.
At Hata-Shikki-ten, we add a design perspective to these traditional processes. While lacquerware can sometimes be seen as old-fashioned simply because of its long history, we strive to reinterpret it into forms that harmonize with modern lifestyles, ensuring it remains both practical and beautiful in today’s daily life.

How do you perceive the balance between tradition and innovation within the company ?

While we respect this long tradition, we believe it is equally important to propose new designs and uses that suit contemporary lifestyles and values.
Traditional crafts are often admired for their advanced skills and techniques, but their true essence lies in creating tools for daily life. From this perspective, adapting forms to meet the changes of the times is both a natural progression and an inevitability.
At Hata-Shikki-ten, our work is supported by traditional techniques, but in terms of ideas and applications, we actively pursue innovation. We are always striving to find the right balance between the two.

You offer objects in series that make your pieces more accessible. How do you view this aspect of democratizing lacquer craftsmanship ?

In Japan, until quite recently, lacquerware was often perceived as something “old-fashioned” or as tableware reserved only for special occasions. Yet in reality, lacquerware has always been an essential part of Japan’s dining culture, which is centered around holding dishes in the hand while eating.
Recognizing this background inspired me to find ways to bring lacquerware closer to younger generations. Creating products that highlight the natural texture and grain of the wood is one such approach. It is an attempt to promote lacquerware as a form of “usable craft” that is rooted in daily life while preserving tradition.

For our Urushi Lacquer Selection, you are presenting two “Gohanbitsu” rice containers. Could you introduce them ? 

The “Gohanbitsu” was first designed in 2008. At that time, rice containers were often regarded as outdated and old-fashioned household items. Together with a designer, we completely reexamined their functionality and design, and were able to revive them as practical tools suited to modern lifestyles.
Although some time has passed since its creation, the piece still retains a timeless quality that does not feel old-fashioned. It remains one of our representative works, embodying our philosophy and approach to making.

**They are finished using the Fuki-urushi (wiped lacquer) technique. In this method, raw lacquer is applied to the wood surface, and the excess is wiped away with a special cloth or paper. A very thin layer penetrates deeply into the grain. By repeating this process several times, the lacquer gradually blends with the wood, highlighting its natural texture.
We use Fuki-urushi for rice containers because it does not block the wood’s natural breathability, allowing moisture regulation and helping to preserve food. At the same time, this technique emphasizes the beauty of the grain and imparts a natural warmth to the object. It is a finish that is both practical and aesthetic, ideal for daily use.

Unique pieces available in our online store.