田谷漆器店

輪島塗

<h1>風土が生み、人が育む輪島塗り</h1>
<paragraph>石川県輪島市で生まれる輪島塗りは、昭和52年、全国で初めて国の重要無形文化財に指定された漆器です。<br />
縁起の良い植物や動物を金で表現した華やかな意匠と、日常使いに耐える確かな丈夫さを兼ね備えていることが最大の特徴です。<br />
日本海からの湿潤な風を山々が受け止める輪島の気候は、漆器づくりに理想的な環境でした。材料となるヒノキアスナロやケヤキも豊かに育つこの地で、輪島塗は自然の恵みと人の技が調和した結晶として、今日まで受け継がれてきたのです。</paragraph>
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<paragraph>市場には、表面だけ天然漆を使った漆器も流通していますが、輪島塗りは天然木と天然漆にこだわり続けています。<br />
輪島塗りの丈夫さの秘密は、輪島特産の「地の粉」と呼ばれる珪藻土にあります。この粉を下地に用いることで、輪島塗りは他に類を見ない堅牢さを獲得しました。幾重にも塗り重ねられた天然の漆が、使うほどに艶を増し、深みを帯びていく。時を経るごとに美しさを増すこともまた、輪島塗りならではの魅力です。<br />
輪島塗りが大きく発展した背景には、「塗師屋(ぬしや)」と呼ばれる独自の存在がありました。<br />
企画や販売で専門性を示し、職人たちの技を束ね、全国を巡って輪島塗の魅力を伝えました。田谷漆器店も、江戸時代から続くそんな塗師屋の一軒です。</paragraph>
<photo src='https://krlazajynxwq6dfb.public.blob.vercel-storage.com/maker/27eb05a6-9e62-4ff2-b7c7-6e2f34a0268a-8tTuWudD5AT2WeMLiu98FPC1aNJ82o.jpg' caption='輪島特産の「地の粉」。'></photo>
<h1>時間をかけてゆっくり作る『暮らしの塗師屋』</h1>
<paragraph>田谷漆器店では、「暮らしの塗師屋」をテーマに、自然と人が共生する豊かな暮らしを提案しています。<br />
輪島塗りの製作は分業制で、木地づくり、塗り、加飾など、多くの専門職人が携わります。<br />
田谷漆器店では、一つ一つの工程を、決して急ぐことなく、丁寧に進めていくことを大切にしています。<br />
漆を急いで乾燥させた場合に起きる漆の匂いの残留や、うるしかぶれを未然に防ぎ、気持ちよく輪島塗りを使ってもらうために、脆弱な器にならないように、時間をかけてゆっくりと仕上げています。</paragraph>
<photo src='https://krlazajynxwq6dfb.public.blob.vercel-storage.com/maker/4e56d250-5190-4737-9f56-7899b209c25c-j3rgpgtkRMr4Cuv9kaBjvCT3LpeEGa.jpg' caption='塗り工房の様子。'></photo>
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<paragraph>田谷漆器店では、輪島塗り以外の漆器の修理も引き受けています。江戸時代から各地の製品を見て、触れて、学んできた知識と、職人たちの確かな技術力があるからこそできることだと言えます。<br /><br />

特徴的な材料や工程があり華やかな印象を受ける輪島塗りですが、木地に生漆を染み込ませて強度を高める「木地固め」、布で補強する「布着せ」など特徴的な地道な工程を重ねていきます。<br />
この道42年のベテラン職人さんは「出来上がったものは派手だけど、仕事は地味。でも細かい仕事ほど匠の技が出る」と話します。今でも他の人の仕事ぶりを見て学び続けているのだそうです。</paragraph>
<photo src='https://krlazajynxwq6dfb.public.blob.vercel-storage.com/maker/90431bde-8837-48ae-aee5-5d568e057e1d-1D9BQRA0vyVCw5CloIaK3XGshQOOUc.jpg' caption='木地に生漆を染み込ませて気質を強化し、反りや割れを防ぎ、堅牢にする「木地固め」の工程。'></photo>
<photo src='https://krlazajynxwq6dfb.public.blob.vercel-storage.com/maker/44e0592f-f3d0-4c46-9e15-159eaa851cf9-yevsJeJ8wNaLMT0hntOfkntVOyZc0F.jpg' caption='布で木地の強度を固める「布着せ」（布かぶせ）の工程。底や口縁など、傷みやすい部分を補強するために、漆を染み込ませた布を糊漆で貼っていく。この工程も輪島塗りとして特徴的な工程。'></photo>
<paragraph>塗りの工房では、入社3年目の若い女性職人が黙々と筆を動かしていました。<br />
東京から移住してきた彼女は、子どもの頃に輪島で出会った漆のスプーンの使い心地が忘れられず、漆職人の道を選んだといいます。<br />
職人の地道な手仕事が、天然の漆の使用感の良さや堅牢さ、使うほどに艶を増し、深みを帯びる美しさを最大化しています。</paragraph>
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<h1>『古いままでいい』という革新</h1>
<paragraph>代表の田谷昂大さんが家業に戻ったのは9年前のこと。<br />
大学時代、引っ越し先で買ったお椀で飲む味噌汁が、どうしても美味しく感じられませんでした。<br />
「味噌汁の味が悪いわけじゃない。実家で何気なく使っていた輪島塗りのお椀が、本当に良かったんだと気づいたんです」と田谷さん。</paragraph>
<photo src='https://krlazajynxwq6dfb.public.blob.vercel-storage.com/maker/7f602d2e-bc78-4b31-a2e2-9a07b5931d75-9D2hYEDzy5u07CsK5ySWqrqg39qogK.jpg' caption='代表の田谷昂大さん。'></photo>
<paragraph>木製の器は熱を逃がさず、天然漆の口当たりや手への吸いつきは格別です。高台のある形状は、手にすっと収まり、食卓に美しい佇まいをもたらします。<br />
これ以上の進化が難しいほど、完成された形だと言えるでしょう。<br />
田谷さんは「商品を無理に変える必要はない。パッケージや見せ方、売り方を変えるだけでいい」と話します。<br /><br />

帰郷して最初に目を向けたのは、社員の高齢化でした。<br />
当時、40代の先輩が最も若手だったという状況を、少しずつ、しかし着実に変えていきました。「いきなり変えると反発やストレスが生まれる。良いところは残しながら、悪いところを少しずつ変えていく。そこは本当に悩みました」と田谷さん。<br />
今では30〜40代がメインで働く職場となり、飲食店とのコラボレーションやレンタルサービスなど、新しい展開も始まっています。伝統工芸におけるイノベーションとは、古いものを古いまま大切にし、届け方を変えることだと昂大さんは語ります。</paragraph>
<photo src='https://krlazajynxwq6dfb.public.blob.vercel-storage.com/maker/eb2e5288-efa2-4f71-b04d-5bfa52e9524a-SRCjiDeGcFLQW8VsJ249HO3hNP1A6D.jpg' caption='田谷漆器店のギャラリー。'></photo>
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<paragraph>塗師屋は昔から文化人でした。全国を巡り、各地の情報を伝え、歌を詠み、茶をたて、花をいけてお客様をもてなし、お客様の本音を聞き出し、それを職人にフィードバックしてきました。<br />
その精神は今も変わりませんが、「これからは、外に売りに出向くだけではなく、たくさんの人をここに呼び込みたい」と田谷さんは話します。<br />
地震を経験し、「輪島塗りを買いに、世界中から人が来る場所にしたい」と強く想ったそうです。<br />
輪島塗りをきっかけに能登全体が潤う未来を描きながら、今日も田谷漆器店は、輪島塗りの魅力を伝えています。</paragraph>

<h1>“Wajima Lacquerware—Shaped by the Land, Nurtured by Its People”</h1>
<paragraph>Wajima lacquerware, crafted in Wajima City in Ishikawa Prefecture, was the first lacquerware in Japan to be designated a National Important Intangible Cultural Property in 1977.<br />
Its hallmark features are the brilliant decorative motifs—often auspicious plants and animals rendered in gold—and a remarkable durability that withstands daily use.<br />
Wajima’s climate, where the moist winds from the Sea of Japan are embraced by surrounding mountains, provides ideal conditions for lacquerware production.<br />
The region also nurtures abundant hinoki-asunaro and zelkova trees, the essential raw materials.<br />
In this environment, blessed by nature and refined by human skill, Wajima lacquerware has been passed down to the present day as a true harmony of craftsmanship and landscape.</paragraph>
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<paragraph>While many lacquerwares on the market today use only a thin coating of natural lacquer on the surface, true Wajima lacquerware insists on solid wood and pure lacquer throughout.
The secret behind its legendary strength lies in “jinoko,” a diatomaceous earth unique to the Wajima region.<br />
Used in the undercoating, this powder gives Wajima lacquerware exceptional resilience found nowhere else.<br />
Layer upon layer of natural lacquer deepens in luster and richness the more the piece is used—another defining charm of Wajima lacquerware.<br /><br />
Its development was also supported by a unique figure in the local industry: the “nushiya,” or lacquerware producers.<br />
They specialized in planning and distribution, unified the work of various craftsmen, and traveled across the country to share the beauty of Wajima lacquerware.<br />
Taya Lacquerware Store is one such nushiya, with a lineage that extends back to the Edo period.</paragraph>
<photo src='https://krlazajynxwq6dfb.public.blob.vercel-storage.com/maker/d392b2a8-7e42-4a5b-b297-4b09bedafb09-UHd3izaVjuhsH4XTxD9EmH9mPG4Aoa.jpg' caption='“Jinoko,” a specialty diatomaceous earth unique to Wajima.'></photo>
<h1>“Crafted Slowly and Patiently — The ‘Lacquerware Atelier for Everyday Life’”</h1>
<paragraph>At Taya Lacquerware Store, the guiding theme is “a lacquerware atelier rooted in everyday living,” proposing a way of life where people and nature coexist harmoniously.<br />
Wajima lacquerware production is divided into specialized processes—woodworking, coating, decoration—and many craftsmen are involved at each stage.<br /><br />
Taya places great importance on never rushing these processes.
By allowing the lacquer to dry naturally and thoroughly, they avoid issues such as lingering odors or skin irritation, and ensure each piece becomes strong and long-lasting.<br />
To make Wajima lacquerware as pleasant as possible to use, every item is finished slowly, with patience and care.</paragraph>
<photo src='https://krlazajynxwq6dfb.public.blob.vercel-storage.com/maker/9658ec30-45ed-4cb6-b470-ebd4acc9f481-Kela2T2Wz7ddfkXX59Pw5UVSdVYn9p.jpg' caption='Inside the lacquer workshop.'></photo>
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<paragraph>Taya also repairs lacquerware from regions outside Wajima.<br />
This is possible thanks to the knowledge accumulated since the Edo period—seeing, touching, and studying works from all over Japan—and the exceptional skills of its craftsmen.<br />
Although Wajima lacquerware is known for its striking materials and decorative techniques, the foundation lies in steady, understated work:
“kijigatame,” where raw lacquer is absorbed deep into the wood to strengthen it and prevent warping or cracking;
and “nunogise,” where lacquer-infused cloth is applied with glue-lacquer to reinforce vulnerable areas like the base or rim.<br />
These are essential, characteristic steps in Wajima lacquerware.<br /><br />
A veteran craftsman with 42 years of experience says:
“The finished piece may look glamorous, but the work itself is humble. It’s the smallest details that truly reveal a craftsman’s skill.”
Even now, he continues to learn by observing the work of others.</paragraph>
<photo src='https://krlazajynxwq6dfb.public.blob.vercel-storage.com/maker/bf148668-6225-4f1e-a116-16de2c8e3427-r9wV5x9hoPP9CStYs1LsDIWSagjTh1.jpg' caption='The kijigatame process: raw lacquer is allowed to seep into the wood, strengthening it and preventing warping or cracking.'></photo>
<photo src='https://krlazajynxwq6dfb.public.blob.vercel-storage.com/maker/c1436091-bb37-41df-a6d0-0279a70c940f-3Ds4P13J3ue8JfB3J5hG2KIbrBPfXe.jpg' caption='The nunokise process: cloth soaked in lacquer is applied to areas prone to wear, reinforcing the piece—a hallmark technique of Wajima lacquerware.'></photo>
<paragraph>In the coating workshop, a young craftswoman in her third year of training quietly moves her brush with concentration.<br />
Originally from Tokyo, she chose this path because she never forgot the feel of the lacquer spoon she encountered as a child in Wajima.<br />
The patient handiwork of craftsmen elevates the natural lacquer’s pleasant tactile quality, durability, and the deepening beauty that emerges with use.</paragraph>
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<h1>“An Innovation That Says, ‘It’s Enough to Stay As It Is’”</h1>
<paragraph>Taya’s current representative, Kodai Taya, returned to the family business nine years ago.<br />
During his university days, he noticed that miso soup simply didn’t taste the same when using a bowl he had bought after moving away from home.<br />
“It wasn’t that the miso soup tasted bad—it was that the Wajima lacquer bowl I’d casually used at home had been truly exceptional,” he recalls.<br />
Wooden bowls retain warmth, and natural lacquer has a unique feel against the lips and hands.<br />
The shape, with its raised foot, nestles comfortably in the hand and brings a refined presence to the table.
It is a form so complete that further improvement seems unnecessary.<br />
</paragraph>
<photo src='https://krlazajynxwq6dfb.public.blob.vercel-storage.com/maker/dde83042-1388-4c1a-9abb-5d9b28ae6e19-Dgti2F1R2mAdBuHUjAd8EjZyb5fomj.jpg' caption='Kōdai Taya, the representative.'></photo>
<paragraph>Kodai says,
“There’s no need to force change on the product. Changing the packaging, presentation, or the way we communicate is enough.”
One of his early focuses after returning home was the aging workforce.<br />
At the time, even workers in their forties were considered the “youngest.”<br />
Patiently and thoughtfully, he worked to modernize the workplace without disrupting the good traditions.<br />
As he explains,
“If you change too much at once, it causes resistance and stress. I struggled with how to keep the good while improving the bad.”
Today, the workshop is led mainly by artisans in their thirties and forties, and new initiatives—collaborations with restaurants, rental services, and more—have begun.<br />
Kodai believes that innovation in traditional crafts means treasuring what is old as it is, while transforming how it is shared with the world.
</paragraph>
<photo src='https://krlazajynxwq6dfb.public.blob.vercel-storage.com/maker/b49fe21d-e56d-4791-87d2-ee3246f8652c-3wQEAjTnQpE1ZgKENA8H3gNA3KiMrN.jpg' caption='Taya Lacquerware Store’s gallery.'></photo>
<paragraph>Historically, nushiya were cultural figures.
They traveled the country, shared information, recited poetry, prepared tea, arranged flowers, welcomed guests, and conveyed customers’ thoughts to the craftsmen.<br />
That spirit remains unchanged, but Kodai says:
“From now on, it’s not only about going outward—we want to bring many people here.”<br />
After experiencing the recent earthquake, he felt strongly:
“I want this to be a place where people from all over the world come to buy Wajima lacquerware.”<br />
Envisioning a future where Wajima lacquerware revitalizes the entire Noto region, Taya Lacquerware Store continues to share its enduring beauty.</paragraph>

田谷漆器店は、江戸時代から続く塗師屋として、天然木と天然漆にこだわる輪島塗りを受け継ぐ老舗です。地道な伝統技法を守りつつ、若手育成や新しい発信にも取り組み、暮らしに寄り添う器づくりを続けています。

Taya Lacquerware is a long-established lacquer workshop that has continued since the Edo period, inheriting the tradition of Wajima-nuri with a steadfast commitment to natural wood and natural lacquer. While preserving time-honored techniques, the workshop also nurtures young artisans and explores new ways of sharing its craft, creating lacquerware that fits seamlessly into everyday life.