Junko Yashiro

Hello Junko, could you tell us about your academic background and what led you to specialize in urushi lacquer?

I graduated from the Tokyo University of the Arts Graduate School, specializing in lacquerware. I initially entered as part of the “Crafts Department,” and later chose lacquerware from among metal engraving, metal forging, metal casting, dyeing, ceramics, and lacquerware. I think my interest in Japanese culture was still quite limited during my teens. Like many Japanese of that generation, I found Western culture more appealing. I understood Japanese culture was unique and special compared to other countries, but it hadn't truly resonated with me yet. It's hard to say, but choosing lacquer art as my major wasn't driven by any particular passion.

During my student years, I was overwhelmed by information and constantly wavered, unsure of my artistic direction. It wasn't until after graduation that I became serious about making lacquerware my profession. From then on, I became completely absorbed and worked desperately. I believe lacquer allowed me to meet people and understand Japan.

What draws you to urushi ?

It lies in the places beyond human control. Even when you think you're in control, you're actually not, and you haven't truly achieved it. And its beauty is something that human effort alone cannot create. I feel it shares the same power, delicacy, beauty, and cruelty as nature itself.

Do you consider yourself more like an artist or a woodworker ?

After studying lacquer at university, I went straight into creating work. I lack the experience of technical apprenticeship, the training to become what you might call a “craftsman.” In Japan, “craftsman” refers to someone with highly skilled techniques honed through rigorous training. So I suppose I am not a “craftsman” in the Japanese sense.

Then, am I an artist? When asked that, I don't know. I don't seek to project a message from within myself onto the world. I see my work as giving form to the sense of beauty I feel from Japan's environment, living here. If people call that “artist,” that's fine too.

However, the concepts of “art” or “fine art” only entered Japan about XNUMX years ago. There are overlaps and differences between the broad Western concept of “art” and Japan's “crafts.” In Japan, so-called art didn't exist in an independent form; it was integrated into everyday tools. Architecture, kimono, vessels, fusuma paintings, and so forth. The technicians and craftsmen possessing each specialized skill were likely the artists of that era.

Could you describe your creative process and what it involves for you?

The Japanese lacquerware industry is almost entirely based on a division of labor. While there are numerous steps, different artisans handle each specific process. This is because each step requires specialized skill, and this system is necessary for producing large quantities.

In my case, I give form to designs I create myself. The marks left by carving tools and chisels, as well as the luster of the lacquer, are all part of that design. To realize this, I inevitably have to make everything by hand myself. There are times when certain techniques are technically beyond my own capabilities. In those cases, I sometimes commission specialists in that field, which also provides invaluable learning opportunities.

In the end, I handle both woodworking and lacquer work, but I still frequently feel technically inadequate and believe I must continue learning throughout my life.

What is your vision of urushi in contemporary society, particularly in Japan?

The situation surrounding lacquer is extremely challenging. Japanese lacquer is extremely expensive due to the limited amount that can be harvested. The number of artisans crafting tools for making lacquerware is also decreasing year by year, creating a critical situation. Furthermore, the process to complete a piece involves numerous steps and takes an immense amount of time.

Yet, I feel that creating lacquerware is still worthwhile. No matter how much technology advances in the future, I don't believe a substitute for lacquer will ever emerge. I think the reason both artists creating vessels and those making objets d'art use lacquer is the same. As mentioned in the section on lacquer's appeal, it is because lacquer is special.

I also observe that, gradually, more people are beginning to recognize this. Those who experience lacquer's beauty, strength, and delicacy likely perceive nature's essence through it. This, in turn, leads to reflection on one's own nature and the state of the modern world.
Though the situation is challenging, I believe it is precisely now that we need to harness the power of lacquer as a material.

For our Urushi Lacquer Selection, you are presenting a sake vessel. Could you describe it to us and tell us how you envision its use ?

I created this specifically for holding sake. The body is made from Japanese horse chestnut wood. It was made using a lathe, employing the same technique used for turning bowls. The principle is the same as Western carving, but the tools and production style differ. With the Japanese lathe, you also need to make your own blades and perform the blacksmithing yourself.

After shaping it on the lathe, I carved the exterior with a chisel to create a design where the ridges stand out. The design's key feature is the contrast between the straight, sharp ridges and the primitive marks left by the carving knife. The handle is a brass piece commissioned from my artist friend, Go Uchibori.

The interior is coated with multiple layers of lacquer to enhance waterproofing. The exterior utilizes the “wiping lacquer” technique to preserve the carved texture. This method retains the natural wood grain while providing waterproofing.

In Japan, “sake vessels” come in countless forms. The act of pouring itself is part of the enjoyment. Of course, feel free to use it for beverages other than sake. Nothing would make me happier than seeing the owner enjoy it freely and as they wish.

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