KAMATA Katsuji (lacquer artist)
With smooth, organic forms that undulate like flower petals, the lacquerware of KAMATA Katsuji (鎌田 克慈) exudes a profound presence. The deep, lustrous finish of the lacquer conveys a sense of depth, while the gentle, flowing shapes evoke a natural elegance. KAMATA’s creations stand out as works of both artistry and craftsmanship.
The “端反輪花鉢 ~rinka-bowl~”, used in kaiseki restaurants in Kyoto, radiates a fresh, vibrant elegance reminiscent of a blooming flower. KAMATA describes the bowl as possessing a certain allure, even a hint of sensuality.
“I originally wanted a career without a retirement age. I thought that becoming an artisan would allow me to keep working for as long as I am physically able. At first, I looked into technical universities related to manufacturing, but decided to attend an art university where I could take the time to think and create things by hand.”
Leaving his hometown of Tokyo, KAMATA enrolled in an art university in Yamagata Prefecture in northern Japan. It was there that he first encountered lacquer. He was drawn to the meticulous, step-by-step process of working with lacquer—a craft that requires steady dedication without dramatic changes in the material. This fascination led him to pursue the path of a lacquer artisan.
“After graduating from university, I decided to seriously engage in lacquerwork. I enrolled in the Ishikawa Prefectural Wajima Institute of Lacquer Arts (also known as Wajima Shikken). However, I knew that simply graduating wouldn’t provide me with the skills I needed to make a living. I wanted to apprentice under a craftsman. About six months after enrolment, a senior at the institute told me, “Mr. AKAGI is looking for an assistant. What do you think, KAMATA?””
In 2000, KAMATA began his apprenticeship under AKAGI Akito (赤木 明登). AKAGI, known for his unique background of having transitioned from being an editor of a women’s magazine to a lacquer craftsman, had only recently established himself as an independent artisan in Wajima.
Under AKAGI’s mentorship, KAMATA gained not only a discerning eye and sense of style, but also an opportunity to refine his technical skills.
“In terms of my lacquerwork skills, the best thing about working in that workshop was the sheer number of pieces I was able to make. For example, I’d produce 100 bowls in a row, fully immersing myself in the process. The variety of the pieces and the repetitive process helped me develop significantly.”Given that lacquerwork in Wajima was already in decline due to economic stagnation, KAMATA considers himself fortunate to have had access to an environment where he could amass substantial hands-on experience.
“During my apprenticeship, I never made anything for myself or thought about what I personally wanted to create. I focused exclusively on improving my skills because I believed that the broader my technical range, the greater the possibilities would be for what I could eventually do later.”
After four years as an apprentice and an additional year and a half of working to repay the guidance he had received (お礼奉公 orei-bōkō), KAMATA gained independence in 2006. Thus began his journey as a nushi (塗師 lacquer artisan), carving out his path as KAMATA Katsuji.
Shaping Collected “Likes” — The Journey to the Kanshitsu-Gihō Technique
The hallmark of KAMATA’s work lies in his soft, wavy, organic forms. His creations are imbued with a distinctive design and atmosphere that have become a consistent theme throughout his portfolio. But what is the secret behind this unique style?
When he first gained independence from his mentor, he was tasked with creating his own original works. At the time, he found himself unsure of what to make.
“Pondering didn’t lead to anything concrete. So I decided to put into words the things I liked. Whenever I visited a museum and thought, “This is great,” I would reflect on why I liked it and which aspects appealed to me. For a year or two, I carried a notebook everywhere and wrote down these thoughts.”
Though KAMATA speaks in a calm and measured tone, his quiet passion becomes apparent as he recounts this process.
“Gradually, my notebook filled with the various things I liked. Then I began to notice recurring phrases. I realised that the essence of what I liked the most—the one thing at the top of all those accumulated preferences—must be my original style.”
This process ultimately led to the forms he creates today. He describes his fondness for shapes in celadon and white porcelain that combine sharpness with warmth.
“Lacquerware often tends to be kind of chunky, with clearly defined shapes like rounded or square forms. But I’ve always been drawn to the slightly bent, softened feel of ceramics or glass that seem to warp slightly during firing. My starting point was wanting to create that kind of atmosphere using lacquer.”
Through this deeply introspective and deliberate process, KAMATA discovered and honed the unique style that defines his work today.
KAMATA’s signature “uneri の器” showcases his gently flowing undulating forms. These shapes, imbued with a sense of organic movement, highlight his mastery of creating dynamic yet harmonious designs.
The organic, delicate forms that KAMATA envisions are difficult to create with the conventional lacquerware method of applying lacquer to a soji (素地: work-in-progress made of wood, glass, paper, bamboo, metal, etc.).
Thus he arrived at the kanshitsu-gihō technique (乾漆技法).
There are two main types of kanshitsu method: dakkanshitsu (脱乾漆), which was originally brought from China, and mokushin-kanshitsu (木心乾漆).
Dakkanshitsu involves creating a mould from clay-like material at first, layering it with pieces of lacquered hemp cloth, and shaping it into layers. Once dried, the mould inside is removed, leaving a hollow form. If necessary a wooden frame is added to maintain the structure, then kokuso-urushi* is applied heavily and the details sculpted. This technique produces pieces that are lightweight, durable, and capable of fine detail, as seen in the famous National Treasure statue of Ashura at Kōfuku-ji Temple. However, it requires large quantities of lacquer and significant time, which makes it labor-intensive and costly**.
The alternative, mokushin-kanshitsu, involves applying pieces of lacquered hemp cloth and then kokuso-urushi to a roughly shaped wooden core. Although heavier than dakkanshitsu, it requires less lacquer.
During Japan’s Tenpyō era (729-749) dakkanshitsu was widely used in the creation of Buddhist statues. Its use gradually declined during the Heian period (794-1185) and was replaced by mokushin-kanshitsu and wood carving.
*kokuso urushi (木屎漆): A putty-like lacquer made by mixing mugi-urushi (麦漆: raw lacquer mixed with flour, using as glue) with wood powder.
** Lacquer dries through the action of the oxidative enzyme laccase contained in lacquer sap. The optimal conditions for drying are said to be around 20℃ and 80% humidity. At low temperatures and low humidity, drying takes longer, while high temperatures and high humidity can cause uneven drying. This may lead to wrinkling or warping on the surface, resulting in a duller gloss. (Excerpt from “Urushi to Nuri Tokuhon (『うるしと塗り読本』)”)
Driven by his dedication to form, KAMATA uses the dakkanshitsu technique when creating vessels. Needless to say, the moulds he designs are key to achieving his desired shapes.
“I started with wooden moulds, then moved to glass and ceramic moulds. When I worked with glass, I worked closely with a glassblowing artisan, providing instructions to shape motional, organic forms. However, it was difficult to convey such shapes in words. After the artisan returned to his hometown, I began creating my own moulds by kneading and firing clay.”
While some artisans create kanshitsu pieces alongside conventional lacquerware, it is extremely rare for someone to work exclusively with this technique.
“Making practical items with kanshitsu-gihō is also rare, with little precedent. For example, determining how many layers of lacquered hemp cloth are needed for adequate strength, or attaching a wooden base (高台 kōdai) to a fabric body—no one has done this before. It’s been trial and error. In the first three or four years, I faced many issues but didn’t understand their causes. Since no one else had attempted this, I had to investigate and solve problems myself. Now, I no longer experience those early failures.”
Recently, KAMATA has been working on new types of vessels.
“I’ve been experimenting with adding lids to motional forms. With lidless vessels, slight distortions are acceptable because of their undulating form. But with lidded pieces, even a slight distortion can cause the lid to wobble or rotate. I’m designing shapes that are motional but also stable and precise.”
The lidded bowl (left) and the soup bowl (right) showcase meticulously calculated forms. The more you observe their design, the more captivating they become, drawing you into their refined elegance and timeless appeal.
As practicality is the most important aspect of a vessel, his focus extends far beyond shape.
“This is called kurodame (黒だめ). It’s not simply solid black lacquer on the surface. First, the base is painted black, and then a layer of slightly translucent brown lacquer is applied on top. With this transparent layer on the surface, the finish has depth—it’s not just flat black. The back of the spoon is finished with a technique called ishime-nuri (石目塗り), which gives it a rough texture to make it more scratch-resistant. However, I ensure that the finish is smooth enough so it doesn’t feel unpleasant when the vessel touches the mouth.”
1. The cup “KORO,” crafted using the kurodame technique, features a slight transparency that sets it apart from conventional lacquer finishes. Its colour subtly changes depending on how light strikes it, adding a dynamic and nuanced quality to its appearance.
2. A plate finished with the textured ishime-nuri technique. By sprinkling powder during the process, a unique and distinctive surface texture is achieved.
KAMATA approaches his craft with a meticulous balance of beauty and practicality. Intrigued to know how he might approach creating a purely artistic object without any functional constraints, I curiously asked him.
“For me it’s actually easier to create when there are clear restrictions, like needing to hold liquid or having a specific purpose. When someone tells me to make something completely freely, I find it hard to come up with ideas. I feel like I get more inspired when I’m working within certain limitations.”
As he spoke with a shy smile, it was clear that his sincerity and dedication to his craft shines through in every aspect of his work.
Living and Working in Wajima–the Home of Wajima Lacquerware
Creating vessels under one’s own name and dedicating one’s entire life to a craft is no easy task. What does KAMATA consider essential for living as both an artisan and an artist?
“When it comes to working with lacquer, the key is perseverance—the ability to keep doing the same work every day without getting bored. If you stick with it long enough, almost anyone can improve. Lacquerwork is something you can do if you’re committed to continuing. As for creating original pieces, I think having a sense of style is the most important. While some people may have innate talent, I don’t believe I was born with that kind of natural sense. Instead, my work reflects everything I’ve seen, eaten, and experienced throughout my life. I think it’s vital to remain sensitive to everyday experiences and continually strive to refine one’s sensibilities.”
As for KAMATA’s family background, his father ran a kimono shop, and his grandfather supported his family by making jewellery, continuing his work until the age of 80.
“My grandfather was a precious metals craftsman who made rings and necklaces. Before World War II, he left Fukui Prefecture for Tokyo, where he started as an apprentice, became independent, took on apprentices himself, and eventually became a master. In a way, he went through the same steps I have, which is why he was always fond of me.”
Now, KAMATA lives in Wajima City, Ishikawa Prefecture, which is in the Hokuriku region on the Sea of Japan bordering Fukui Prefecture, his grandfather’s birthplace. Living as a lacquer artisan in the same region where his grandfather was born feels like a curious twist of fate.
On January 1, 2024, the Noto Peninsula was struck by an earthquake. Thankfully, KAMATA’s workshop sustained minimal damage. However, many artisans were forced to relocate or even abandon their craft entirely. Recovery and reconstruction efforts continue to this day.
Our interview with KAMATA took place in the fall of 2023, before the earthquake. As someone who also left Tokyo, I wondered if he ever regretted his decision.
“After leaving Tokyo, I spent my student years in Yamagata, and then I came here, to the Noto Peninsula. The people living here are so kind—it’s almost hard to believe. I wondered if there was a hidden side to them, but after living here for a while, I realised there’s no pretence. That’s just how they are.”
KAMATA’s workshop is situated in a location where he can see the sea.
“Living here in Noto and being able to experience the changing seasons as part of daily life is truly wonderful.”
Today, in the lacquerware town of Wajima, KAMATA continues to dedicate himself wholeheartedly—to his vessels, to the people who use them, and to himself.
1. KAMATA Katsuji (鎌田 克慈) 2. 乾漆匙 ~spoon~ 3. 六角小吸物椀 ~kozuimono-wan~
LINKS:
Home Page:
kamata-katsuji.jp
Instagram:
@kamatakatsuji
YouTube:
@kamata-katsuji
Online shop (International shipping available. Ordering from overseas possible):
kamata.handcrafted.jp
Please click here to subscribe to our newsletter.