As previously reported in Japan Contemporaries, the town of Wajima in Noto Prefecture suffered extensive damage from a powerful earthquake and tsunami that struck on New Year’s Day. Of particular concern were the many lacquerware artisans whose livelihoods were gravely affected. According to the Japanese Red Cross Society, approximately 70-80% of lacquerware-related businesses suffered damage, with many workshops and homes of artisans completely or partially collapsing; five hundred shops dedicated to lacquerware were destroyed.

As we were preparing a follow-up on how artists in the region were coping, news broke of a second disaster this year. In September, heavy rains triggered severe flooding and landslides, claiming ten lives in Wajima and fifteen total within the Noto Peninsula according to Ishikawa Prefecture authorities. The lacquerware artisans, a vital part of the area’s cultural and economic heart, now face yet another setback in their ongoing efforts to rebuild.

At the time of the floods, with many people living in temporary shelters called kasetsu, the population was exhausted yet hopeful that the hardest period was over. The flooding, however, felt like an insurmountable blow to those who had already survived so many difficulties. Mariko Takahashi, director of International Emergency Relief (IER), also known as Japan Heart who has been delivering medical and other assistance, said, “Earthquakes and heavy rains are different, but experiencing both feels like being hit twice, and it’s hard to describe that feeling. Though I didn’t hear this directly, I’ve heard that some elderly people have said things like, ‘Why didn’t I die before the earthquake?’ The situation is unimaginable, and words like these are hard to comprehend.”

Ryota Yorimasa a staff member of the Hisaichi NGO Kyodo Center added, “Residents who had repaired their homes after the earthquake found them filled with mud again, and even temporary housing was flooded. The efforts to restore their lives were set back to zero, or worse. Many people feel too defeated to move forward. The psychological toll is immense. People feel they can’t think about the future anymore. Some even say they’ve given up hope and might have no choice but to move away.”

And yet some artisans are moving forward. We spoke with and documented their lives after the flooding.

Wajima holds immense cultural significance for Japan as a center of lacquerware production, a tradition that dates back thousands of years to the prehistoric Jōmon period, around 14,000–16,000 years ago. Over the centuries, the region has faced difficulties, especially from natural disasters, but the present challenges are as daunting as any in its history. Recovery and a return to productivity are further complicated by the exodus of young people to cities, competition from factory-produced goods, and an aging population of artisans—all of which pose serious threats to this ancient craft.

Before the disasters, tourism provided additional income that helped support the artisans. Hidenobu Sekiyama, manager of a lacquer purification factory, noted that before the earthquake, “Wajima used to attract many tourists, but the number of visitors has decreased due to the earthquake’s impact. Craftsmen only earn money when they work, so they must be worried. If they are younger, they might find other work, and there are opportunities in Kanazawa, but it’s quite difficult to find work here now. The population is also decreasing.”

Mr Soto added, “Before the earthquake we held exhibitions, and explained the elaborate details of how we made lacquerware to visiting tourists letting them observe the lengthy production process. By showing them process, they came to understand why it cost so much.” With those exhibits gone, another source of revenue has disappeared.

To underscore why lacquerware is so expensive, Mr. Soto further explained that he and his fellow artisans specialized in Makie and Chinkin techniques. Both Makie and Chinkin are techniques for decorating objects with gold, but they differ significantly. In Chinkin, the gold is applied after carving, creating a luxurious appearance with minimal effort in the application process. However, the carving itself is highly challenging. This approach is fundamentally distinct from Makie. Although both techniques involve painting, they remain quite different in their methods and effects.

If Makie focuses on adding layers of gold, then Chinkin involves carving and removing material before filling the carved areas with gold. Few artisans are skilled in both Makie and Chinkin. The natural color of lacquer is amber or a somewhat translucent brown, which gives the gold decoration a slightly reddish hue when applied.

The loss of livelihoods in Wajima can ultimately be traced back to climate change. The events that struck the Noto Peninsula on New Year’s Day and the heavy rains in September may seem like separate incidents, but they are connected. The earthquake and resulting tsunami were intensified by higher sea levels, pushing water further inland with greater force. With more water in the system, seismic events now drive even more water onto land. While Japan has long faced flooding, the recent floods are worsened by increased precipitation due to more moisture in the atmosphere. Together, these events create an unrelenting cycle, with each disaster compounding the effects of the last, making recovery increasingly difficult.

Raita Yirimacha, a volunteer in Wajima, highlighted the continued psychological toll of climate change on the community’s future, saying, “I think many people are unable to move forward because their spirits are broken by flood damage in a situation already made difficult by the earthquake. If the residents themselves give up, they will not be able to rebuild the area.”

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To support this vital cultural heritage, Wajima lacquerware can be purchased through these verified organizations.

KOGEI STANDARD

Kirimoto Wooden Craft Workshop

Wajimaya Zenni

Goshimaya