Yamanaka Lacquerware Bulb: Lilac
The open lilac lid beside the rounded wooden body on a table
A hand holding the compact lilac and wooden lidded object above a dark table
Bulb: Lilac standing closed as a quiet sculptural accent on a contemporary shelf.
An adult hand lifting the pointed lilac lid to reveal the dark interior of Bulb: Lilac.
Bulb: Lilac standing closed on a dark table before a seated model with both hands at rest.
Yamanaka Lacquerware Bulb: Lilac
The open lilac lid beside the rounded wooden body on a table
A hand holding the compact lilac and wooden lidded object above a dark table
Bulb: Lilac standing closed as a quiet sculptural accent on a contemporary shelf.
An adult hand lifting the pointed lilac lid to reveal the dark interior of Bulb: Lilac.
Bulb: Lilac standing closed on a dark table before a seated model with both hands at rest.
Hana to Urushi LLC SKU: BJ_P_00026

Yamanaka Lacquerware Bulb: Lilac

Price
Regular price ¥31,386
Regular price Sale price ¥31,386
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Product Details

PRODUCT DETAILSA floral form, turned in woodBulb: Lilac brings the poised silhouette of a flower bulb into Yamanaka lacquerware. Turned from mizume cherry and finished in lacquer, its rounded body, pointed lid, and softly shifting lilac tone invite attention from every angle....
Craft Heritage

CRAFT HERITAGE

Craft Heritage

Yamanaka Lacquerware dates to the late 16th century, when a group of woodturners moved into the area in search of suitable timber and began shaping wood on lathes. The craft became established around Yamanaka Onsen.

By the middle of the Edo period, artisans were making everyday objects such as bowls and trays, as well as souvenirs for visitors to the hot-spring town. Lacquering and maki-e techniques were introduced in the early 19th century, laying the foundation for the raised Yamanaka taka-maki-e practiced today.
How It’s Made

HOW IT’S MADE

How It’s Made

About the Making Process

Yamanaka Lacquerware is made through four principal stages: forming the wooden body, preparing the foundation, applying the final lacquer coat, and adding maki-e decoration.
Properly dried wood and precise turning help prevent distortion.
Although the foundation is hidden in the finished piece, it supports both the vessel's strength and the quality of the final lacquer surface.
The lacquer is built up through repeated coating and sanding, with curing carefully managed in response to humidity and weather.

1. Kiji (Wooden Body)
  • Zelkova and Japanese horse chestnut are the principal woods. Each blank is cut vertically along the grain to minimize warping.
  • The craftsperson shapes the wood on a lathe using handmade kanna and other turning tools. Advanced decorative turning may add sensuji grooves or zogan inlay.
2. Shitaji (Foundation)
  • A mixture of lacquer and jinoko powder is applied and sanded.
  • Repeating this process strengthens the wooden body and creates a smooth surface.
3. Uwanuri (Final Lacquer Coat)
  • Black, vermilion, or another lacquer is applied with a brush.
  • The final coat is applied with great care to prevent even the finest airborne dust from settling on the surface.
4. Maki-e
  • Gold, silver, or other metal powder is sprinkled over motifs drawn in lacquer.
  • Subjects range from traditional designs and scenes of nature to geometric patterns, creating a finely detailed decorative finish.
Meet the Maker

MEET THE MAKER

Meet the Maker

MAKER · YAMANAKA, ISHIKAWA

Yamanaka Lacquerware, Seen Through a Floral Eye

YUIYU brings together the perspective of floral design and the accumulated skills of Yamanaka lacquerware. Its official concept describes organic forms learned from nature and new experiments in color, expressed as wooden lacquerware for contemporary interiors and daily life.

A portrait supplied with the Hana to Urushi LLC workshop profile
Naoko Tanabe, Connecting Flowers and Craft

Naoko Tanabe is the floral designer behind YUIYU. She developed the brand to connect the traditions of Yamanaka with contemporary life, and to bring attention to the people whose work is often present in an object but absent from its story.

During the brand's development, Tanabe traveled repeatedly between Tokyo and Yamanaka Onsen. Color and form were not settled on paper alone. They were refined through prototypes and conversations with the craftspeople who understood how different woods, tools, and layers of lacquer would respond. When a color appeared uneven or brighter than intended, or a shape needed to work better in the hand, the design returned to the workshop for another round of judgment.

Many Hands, One Object

Yamanaka lacquerware is built through specialized work. One person may turn the wooden form on a lathe; others may refine lacquer, prepare the ground, or apply and wipe successive layers. YUIYU makes that collaboration part of the story rather than hiding it behind a single name.

Rokuro-biki, or lathe turning, gives the wood its balanced form. Fine sensuji lines may be cut into a rotating surface, creating rhythm through minute, repeated grooves. With fuki-urushi, lacquer is applied and carefully wiped back in repeated stages, allowing the grain of the wood to remain visible. The apparent simplicity of the finished object rests on a sequence of specialized decisions.

Tradition as a Living Relationship

The name YUIYU repeats the Japanese character *yui*—to bind or connect. It expresses a wish to connect people, nature, culture, and the skills held in Yamanaka Onsen. The aim is not to make tradition appear modern by removing its history. It is to create a new reason for that history to remain in use: at the table, in a room, and in the rituals of everyday life.

A Traceable Collaboration

Distance becomes smaller when the collaboration remains visible. Portraits and workshop photographs show the people and place behind YUIYU, while views of turning, sensuji carving, and fuki-urushi explain how specialist skills meet in one object. Together they make the brand’s division of labor visible without reducing the work to a single name.
Shipping Information

Shipping to the United States

We currently ship online orders to all 50 U.S. states and Washington, D.C., including Alaska and Hawaii. U.S. territories and countries other than the United States are not currently included.

Estimated arrival

Estimated arrival is usually within 5–10 business days after payment and order confirmation. This is an estimate and not a guaranteed delivery date. Timing may vary because of the destination, carrier conditions, customs review, weather, remote-area service, or other circumstances outside our reasonable control.

Shipping charges

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Duties and import taxes

U.S. orders are shipped on a Delivered Duty Paid (DDP) basis, regardless of order value. Where duties, import taxes, or related import charges apply, the amount collected by BRAND JAPAN is shown at checkout. You should not ordinarily be asked by the carrier to pay those charges again upon delivery. If a carrier requests an unexpected import payment, do not pay it immediately; contact us with your order number and the carrier's notice.

Damage or incorrect delivery

If the parcel or item arrives damaged, contact us within 48 hours of delivery. For an incorrect or incomplete order, contact us within 14 days. Keep the item, outer box, inner packaging, and shipping label, and prepare photographs showing their condition. Do not return an item until we provide instructions.

Read the full Shipping Policy for carrier, address-change, delay, and undeliverable-shipment details.

Questions? Email store@brand-japan.ne.jp. Support hours are Monday–Friday, 10:00–18:00 Japan Standard Time, excluding Japanese public holidays.

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