Homemade lacquer from Tottori that is starting to reveal its true value
The truth is that when I was in Saitama, this was not a lacquer that was easy to use. When I passed it to Professor Murose (living in Tokyo) and asked for his impressions, I was told “the first lacquer dries well, but it is quite slow to prime. I wonder why that is”.
It was a lacquer that required both a knack and skill to be used in the Kanto winter.
My innermost thoughts
“The quality of this lacquer which I have nurtured for 13 years and finally been able to adopt…maybe it was reckless to try and grow lacquer in Tottori…”
My feelings were a mixture between panic and regret.
When you try to grow lacquer, it takes at least 10 years to know the quality of what you have grown, so it is a real shame if the result is bad after all that time.
Strangely, however, a Professor in Wajima had a good impression of it.
In fact, he gave it a rave review.
This professor, who had always used a mixture of different types of lacquers, eventually only used this Tottori lacquer as the top coat, and told me
“Its dryness comes from its essence, and despite being a young tree, its texture on the skin is extremely subtle. I like it.”
（Saying that its dryness comes from its essence uses a particular nuisance, but it is the sense that it dries not from the surface but from within the coating film. In concrete terms,straight after it is lacquered and dried, although the surface is dry, the inside has a gum-like feel, and, with Tottori lacquer, the concept is that it is dried evenly from within.）
Although it received such praise, the Asai lacquer struggled in Saitama.
However, it is showing fine form in the Kyoto summer.
It has now shown us its true value!
Much of my job involves attaching gold and other objects, and when you attach several thousand parts or several tens of thousands of parts, a fixed number will come loose and will need to be reattached.
In percentage terms, this is probably approximately 1%.
However, as this is a high number, 1 percent of parts is a large number.
The work I am currently making probably has around 4000-5000 parts and only one part came loose!
This is not even 1 percent. Just one part came loose!
Something I felt when I came to Kyoto was that the adhesiveness of the Asai lacquer was stronger than with any lacquer I had used up to that point.
This is not just me seeing the best in something. It is really producing these overwhelmingly strong results.
This lacquer has the personality of being serious and wholehearted.