Ryukyu Shikki (琉球漆器) is a lacquerware produced in Naha, Okinawa Prefecture, with origins traceable to at least the 1400s during the era of King Sho Hashi. It was designated as an Okinawa Prefecture traditional craft in 1974 and as a Minister of Economy, Trade and Industry-designated traditional craft in 1986.
History
Based on the Rekidai Hoan (歴代宝案), lacquerware or lacquer craft is believed to have existed in the Ryukyu Kingdom since the 1400s, the era of King Sho Hashi. The book Suma Oriental, written by Portuguese diplomat Tomé Pires in the 15th century, records lacquer boxes decorated using the Chinkin technique, providing early documentary evidence of lacquerware production in the region. Round chests (丸櫃) said to have been made around 1500 are preserved in Kumejima, Izena Village, and the Amami Islands. Ryukyu lacquerware was gifted to China as tribute and was also exchanged with Japan, Korea, the Kingdom of Siam, and Malacca, reflecting its role in the kingdom's extensive trade networks.
In 1609, Ryukyu was invaded by the Satsuma Domain and placed under its control. Production thereafter was overseen by the Kaizuri Bugyo-sho (貝摺奉行所), an institution under direct control of the Ryukyu royal family that supervised craftsmen producing tribute items and diplomatic gifts. According to the Ryukyu Koku Yurai Ki, the Kaizuri Bugyo-sho was strengthened in the 17th century and technology was introduced from China and Satsuma. Records of cultivating urushi trees and collecting lacquer appear from 1686 (Kangxi 25th year). By the 1800s, lacquerware decorated with Tsuishu and Tsuikin techniques circulated domestically and internationally under the jurisdiction of the Kaizuri Bugyo-sho.
When the Meiji era began, the Kaizuri Bugyo-sho was abolished and production shifted to private craftsmen, centered in Wakasa-cho, Naha City. Items produced during this period included trays, dining tables, bowls, and ink-stone boxes. As of 1902, there were 227 lacquer craftsmen working in the craft. A 15-year project to plant urushi seedlings began in 1933 but collapsed due to the wartime regime. World War II caused devastating damage to the craft, but Ryukyu lacquerware was subsequently revived through the production of souvenirs for stationed military forces. The Tsuikin technique, which spread to Miyazaki and Kagoshima Prefectures, was introduced there by craftsmen who had evacuated from Okinawa during the war. The Ryukyu Lacquerware Industry Cooperative Association (琉球漆器事業協同組合) was established in 1977.
Techniques & Production Process
The wood bases used during the Ryukyu Kingdom era are believed to have been mostly made from conifers. Modern production uses local timber including Deigo, Egonoki, Sendan, and Gajumaru trees. Okinawa's humid climate means that it is not necessary to artificially raise room humidity and temperature during the lacquer drying process, unlike other lacquerware production areas in Japan.
The Tsuikin (堆錦) decorative technique, devised by Higa Josei, accounts for approximately 80% of the decorative techniques used in Ryukyu Shikki. Japanese lacquerware traditions encompass a wide range of decorative methods, and Ryukyu Shikki also employs Chinkin (沈金) and Raden (螺鈿) techniques. Additional techniques used in production include Roiro-nuri, Shunkei-nuri, Makie, Haku-e, and Mitta-e. Raden decoration, which involves inlaying shell, is also a feature of related lacquerware traditions such as Yamanaka-nuri.
How to Identify Ryukyu Shikki
A saw-tooth pattern decoration on the rim of lacquerware is characteristic of the early modern period of Ryukyu Shikki. The Tsuikin technique—developed within the Okinawan tradition—produces distinctive modeled decorative elements applied to lacquered surfaces, and its prevalence distinguishes Ryukyu Shikki from other Japanese lacquerware traditions such as Wajima-nuri, Aizu lacquerware, or Kiso Shikki. Raden (shell inlay) and Chinkin (engraved gold) decoration also appear across the craft's output.
The Craft Today
Production of Ryukyu Shikki reached a per-capita value peak in 1993 and subsequently declined. Until around 1999, more than 100 craftsmen were engaged in the craft, but the number of practitioners has been declining in recent years. The Ryukyu Lacquerware Industry Cooperative Association, established in 1977, continues to represent the industry. The craft remains one of Okinawa Prefecture's designated traditional crafts and holds national recognition as a METI-designated traditional craft since 1986. Techniques such as Tsuikin have spread beyond Okinawa, with practitioners in Miyazaki and Kagoshima Prefectures tracing their craft lineage to craftsmen who evacuated from Okinawa during World War II. Other regional Japanese lacquerware traditions, including Echizen Shikki, Kagawa Shikki, Tsugaru-nuri, Kyo Shikki, Takaoka Shikki, Kamakura-bori, Shunkei-nuri, Nakanosawa Shikki, Ouchi-nuri, Hidehira-nuri, and Odawara Shikki, similarly maintain active production communities across Japan.
Frequently Asked Questions
When was Ryukyu Shikki designated as a traditional craft?
Ryukyu Shikki was designated as an Okinawa Prefecture traditional craft in 1974 and as a Minister of Economy, Trade and Industry-designated traditional craft in 1986.
What is the Tsuikin technique?
Tsuikin (堆錦) is a decorative technique devised by Higa Josei. It accounts for approximately 80% of the decorative techniques used in Ryukyu Shikki production.
What types of wood are used in Ryukyu Shikki?
Modern Ryukyu Shikki uses wood bases made from local trees including Deigo, Egonoki, Sendan, and Gajumaru. Wood bases from the Ryukyu Kingdom era are believed to have been mostly made from conifers.
How does Okinawa's climate affect lacquerware production?
Due to Okinawa's humid climate, it is not necessary to artificially raise room humidity and temperature during the lacquer drying process, which distinguishes Ryukyu Shikki production conditions from other lacquerware production areas in Japan.
How did Ryukyu Shikki develop historically?
Lacquerware production in the Ryukyu Kingdom is believed to date to the 1400s during the era of King Sho Hashi. It was used as diplomatic tribute and trade goods with China, Japan, Korea, Siam, and Malacca. Production was overseen by the royal Kaizuri Bugyo-sho until the Meiji era, when the institution was abolished and production passed to private craftsmen. The craft suffered severe disruption during World War II and was subsequently revived.
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