The power of urushi is one whose skills and traditions have been passed down for 400 years, but which continues to be innovated even now.

Lacquer art took root in Aizu due to its promotion by Gamo Ujisato, who became the feudal lord in 1590 and encouraged the lacquer arts as an industry. Lord Gamo called master wood- workers and urushi artists from his former dominion of Hino (Shiga Prefecture), to pass down advanced techniques. In the Edo Period, the founder of the Aizu Clan, Hoshina Masayuki, strove to cultivate and protect lacquer trees, and successive generations of clan leaders, as well as chief retainer Tanaka Harunaka, engaged with innovation of techniques. As a result, exports to countries such as China and Holland blossomed, and the area flourished. In the Boshin War , Aizu urushi was struck with a devastating blow. However , from the Meiji Period through the Showa Period, it gained recognition as a Minister of Economy, Trade and Industry-specified traditional handicraft. Currently, Aizu enjoys a reputation as one of Japan's leading industrial arts production areas, where close to 40 traditional artisans keep alive traditional techniques.

Along with the beauty of urushi’s painted coating, urushi has also been shown to have high adhesive strength. It is used for the restoration of cultural assets, largely because of its highly harmonious and durable properties as a natural paint. From ancient times, the traditional technique of “kintsugi” has existed in Japan. In kintsugi, damaged bowls are repaired by being patched with urushi and embellished with gold or silver; it is characteristic of Japan’ s recycling culture. The practice is said to have begun in the tea ceremony world in the Muromachi Period. It must be noted that the broken bowl is not simply mended, it is refined to a state more beautiful than before it was broken.

At the Aizu Lacquerware Cooperative Union, effort is put into educating successors, so that the techniques of traditional craftsmanship may be passed on to the future. From 1971, with the support of the city and prefecture, the industry and the administrative body came together to established the “Aizu Lacquerware Techniques Successor Development Association,” and the business of educating successors began in earnest. From 2003, it continued operations as the “Fukushima Prefecture Designated Aizu Lacquerware Techniques Successor Training School,” and, with the union at its core, continued educa- tion.The trainees are divided into the specialties of nuri and maki-e. After receiving two years of education in a high-density curriculum, they devote themselves to even more training. Every year several young people are developed as important human resources who will carry the future of the production area on their shoulders.

Traditional Aizu lacquerware, which has been passed down for over 400 years, continues to take on the challenge of creating new products and innovations to techniques daily. Currently in Aizu, a project is underway entitled “Urban Design with the Fragrance of Lacquer,” which concentrates on increasing urushi products in schools and public buildings through activities promoting education. By also increasing opportunities for people to come into contact with lacquerware in hotels and ordinary restaurants, the project aims to create a town where one can feel the warmth and texture of urushi in various settings. Addi - tionally, with the incorporation of urushi into interior design and accessories, as well as architectural components and things one might have a strong preference for (the interior of cars, watches, and cell phone cases), we are allowing a new breeze to blow, connecting to the next generation.