Kanazawa lacquerware was born in the Edo period as an official craft of the Maeda clan of the Kaga Domain. The third lord, Toshitsune Maeda, invited a master of Kodai-ji maki-e (gold-powder lacquer painting) to serve as instructor, and the refined techniques of Kaga Maki-e became synonymous with Kanazawa lacquerware.

Naoya Otsubo loved making things and drawing even before he began studying lacquer. While preparing for art school entrance exams, he attended painting classes, dreaming of a career in craftsmanship. One day, his teacher unexpectedly told him, “Otsubo-kun, lacquer might suit you.” That simple remark set him on the path of a lacquerware artist.

Taking his mentor’s words seriously, Otsubo began researching lacquer. He was captivated by the beauty of Kaga maki-e inkstone boxes, and as he discovered the wide range of techniques and expressions, as well as qualities that matched his own personality, he thought, “This could be my life’s work.”
He enrolled at Kanazawa Gakuin University’s Faculty of Arts and Culture, then after graduation studied at the Wajima Lacquerware Technical Training Institute, and later worked in sales at the long-established Kanazawa lacquer shop Nosaku. Eventually, he went independent as a Kanazawa lacquerware artist and now runs his own studio, Otsubo Lacquer Art Studio.
“Lacquer work isn’t for everyone. It suits people who can steadily repeat the same tasks every day. Those who are too perfectionist often struggle to move forward. I think it’s about finding that balance.”

Lacquer art requires careful attention from different perspectives in each stage. For example, maki-e demands patience and time, while coating requires speed. Otsubo explains that it’s essential to switch mindsets depending on what the process demands.
He often creates works that combine lacquer and maki-e with other materials. When planning a new piece, he makes rough sketches to decide which parts to lacquer, where to apply maki-e, and what materials to use.

The incense container displayed at his solo exhibition was completed by fusing lacquer, maki-e, shell, and other materials. It employed the nashiji technique, where sprinkled gold powder creates speckled patterns resembling pear skin. The heron motif was shaped by carving white mother-of-pearl.

This shaping process is highly detailed: the shell is first flattened into a plate, its curved parts ground smooth with a whetstone, and then cut into the intended form. For the beak, black-lip pearl shell was used. By combining different materials for each element, Otsubo brought together a wealth of techniques.

Otsubo is also experimenting with applying maki-e to turban shells (yakogai). “I want to create designs inspired by yūsoku mon’yō (classical aristocratic patterns), combining flowers with stone, coral, and maki-e. The petals will be made from white mother-of-pearl, with maki-e applied on top.”

To make maki-e adhere to shell, he first coats the surface with lacquer and bakes it at around 100°C, fixing the decoration. This yaki-tsuke (baking) technique has been used since ancient times, such as when applying lacquer to armor.

Recently, he has also launched a jewelry line called “Uruwashi Ring”, lacquer-coated rings. The brand name comes from uruwashi (麗し), meaning “graceful beauty and harmony,” which is also the root of the word urushi (lacquer). The sound and meaning of the name reflect the essence of the craft. Through this brand, Otsubo aims to share the charm of lacquer with younger generations.

“It may be inefficient, but making as much as possible by hand allows me to explain my work properly to customers. Then they value it more and care for it. That’s why I insist on handcrafting.” In today’s age of 3D printers and automatic cutting machines, he reflects on what only human hands can achieve. Even in unseen parts, he spares no effort, producing work of the highest standard.

“In the past, I tried to control lacquer, to force it to behave. After about 10 years, I realized I had to adjust myself to lacquer instead. Then, I began to work more smoothly with it, understanding how to engage with it. Now, I try to stay calm, without emotional ups and downs.”

Through traditional techniques, he sometimes glimpses the thoughts and wisdom of past artisans. “These skills can’t easily be explained in words. You learn them through trial, error, and your hands. The fact that such techniques have been passed down for over 1,000 years is both mysterious and awe-inspiring. The materials and tools we use are the same as in the Heian period. When I reflect on the thoughts of the people back then, I feel connected to them, as if reliving their experience. That’s what makes it so enjoyable. Handcraft has romance, and I want those who hold lacquerware to feel it too. It ties to our identity as Japanese, to richness of spirit, and to cherishing things.”

Currently, Otsubo is envisioning interactive lacquer art objects. “Lacquer matters when touched and used. I want to create works that can be enjoyed both by touch and as decoration.”