The 2019 Grand Seiko Urushi dial models—loaded with the new Caliber 9S63 mechanical movement—were created through the thorough dedication of Mr. Tamura, Japan’s leading maki-e craftsman, who refined his technique to a level unparalleled anywhere in the world, and his repetition of astoundingly minute processes. In Part 3, of our interview, Mr. Tamura discusses the taka maki-e techniques used in these models and other hidden episodes of their production.
The Grand Seiko "GS" logo and the hour markers at the 12 and 6 o’clock positions displaying Arabic numbers on the SBGK004 and SBGK002 Urushi dial models were decorated using the taka maki-e technique. The designs for them were executed in an extremely sticky and resilient lacquer using a 30x microscope.
“The Urushi lacquer itself is liquid, so if applied on a soft surface it won’t keep its shape. This is why I use lacquer having a certain stickiness and firmness.
I sprinkle gold powder on the ‘GS’ brand logo and the hour markers at the 12 and 6 o’clock positions, and platina powder on the other hour markers, before the lacquer has dried completely. Since the gold and platina powders sink a little when sprinkled on, I repeat the process, building them up after they sink until every last grain of powder stops sinking, and then let the lacquer dry.”
According to Mr. Tamura, drying here means “hardening through the catalysis of the laccase enzyme found in raw lacquer.” After hardening comes the process of polishing the maki-e surface sprinkled with gold and platina powder.
“Usually, I pour a solution of rapeseed oil and polishing powder onto cotton to polish them, but with that method, the contour of the sharp hour markers characteristic of Grand Seiko would crumble. This is why I polished all the sections where maki-e was applied using the fang of a sea bream. It is an ancient kintsugi (the Japanese traditional art of repairing pottery) tool, and there are only one or two fangs per sea bream that are of the ideal size for polishing the Grand Seiko maki-e dials. Using this fang, I polish slowly and deliberately so that the contour will not crumble—a unique style of finish I adopt. The resulting taka maki-e relief generates all manner of shadows depending on the angle from which you look at it, all the while maintaining legibility, and it will go on aging to shine in many diverse ways. I think that this is one of the charms unique to taka maki-e.”
The phrase “Look at the hikuchi” is used to refer to a technique in which traditionally gold powder was only sprinkled on when the work surface was dry. Its bottom section, not visible to the eye, was raised using Urushi and only the upper section would be gilded. But in Mr. Tamura’s taka maki-e, the Urushi on the design is filled with gold powder. In other words, it is raised through a lump of gold. It is plain to see all the elaborate technique that has gone into this luxury item.
The slightest change in temperature or humidity will result in a different finish. As such, it is often said that “Urushi is alive.” Steps of great dedication, unique to Mr. Tamura, were also taken in order to preserve the lacquer in the best of conditions.
“When applying taka maki-e on the Grand Seiko models this time, I tried to keep the temperature at 25°C and the humidity over 30 to 40%. Even although Kuro-urushi (black lacquer) is obtained through a chemical reaction between the urushiol and iron, something caused static electricity. At first, I didn't know why, so that was a problem, but after figuring out that the reason was either the temperature being too low or the air being too dry, I was able to prevent this static-electricity issue through proper environment control.
On the production of the Urushi dial models, Mr. Tamura reflects, “To an almost unprecedented extent, I had to find out for myself the most appropriate method for every single aspect.”
“When I discovered a good technique, I had then to become proficient at it—a constant repetition of trial and error. All my tools were custom-made for the Grand Seiko production. I made about 30 maki-e brushes, some for painting corners, some for raising the Urushi, some for the outline lines... I selected about five different kinds of brushes suitable for each process and then removed all their uneven hairs, because if the tips are not all sharp as a needle, I can’t paint properly. Even for the tweezers, I bought precision ones and polished them further before starting to use them, all this in order to achieve the high quality pursued by Grand Seiko.”
Mr. Tamura says that what he struggled most with was the unique shape of the GS brand logo.
“I can take pride that through the use of the fine techniques I pursued for many years, the finish on the dial combines minuteness and beauty, one could say to the point of having no problem being displayed at the Patek Philippe Museum in Geneva. In order to maintain this high quality, I craft each dial separately under this feeling of pressure.”
Lastly, we asked Mr. Tamura about the greatest appeal of Urushi. He answered with a slight pause, “I can’t describe it simply, but…” and started to speak again slowly, as if he were carefully selecting his words.
“Probably the vitality and natural healing power of Urushi. Just as when we humans suffer cuts, our blood forms a scab over the wounds to protect them and let them heal gradually, the Japanese lacquer tree will also protect itself by oozing sap from its wounds, holding a robustness and strength to live. Whether it be the Man’yo period or the Heian period, I think that people entrusted to the vitality and natural healing powers of the Urushi their will to leave good items to their descendants for eternity. That is why I think people kept important scriptures or heirlooms enveloped in fine cloth and inside a lacquered box, which not only does not deteriorate, but also has antibacterial properties.”
“Regarding the history of Urushi lacquer craft, transmitted to us from China in ancient times, our forefathers have devoted themselves to it for hundreds, if not thousands, of years to have it matured to be part of our culture. I think that Japan is unique in this aspect. As indicated by its Chinese character, the ‘maki’ of maki-e uses the character for ‘time’ with a grass radical. I believe that there is probably a deep link between maki-e and watches (also incorporating the same character for ‘time’). Including the Urushi dial models on which I had the pleasure to work, I sincerely hope that the Grand Seiko wristwatches will keep on indicating plentiful times, being transmitted beyond time from parent to child and to grandchild.”
Isshu Tamura
Born in 1957. Currently residing in Kanazawa City, Ishikawa Prefecture. Isshu Tamura trained in the traditional Kaga maki-e lacquer craft technique of Kanazawa under master craftsman Ikkō Kiyose. After learning these skills, Mr. Tamura set out to develop an unparalleled and original technique. He is Japan’s leading artisan of maki-e and Urushi lacquer. He has applied his extremely elaborate techniques of Kaga maki-e not only to lacquerware, but also to the creation of luxury fountain pens and wristwatches, which have received worldwide acclaim for their traditional beauty and one-of-a-kind elegance. The "GS" brand logo and hour markers of the 2019 Grand Seiko Elegance Collection Urushi dial models were handcrafted by Mr. Tamura who combined his original fine technique with a technique known as taka maki-e (or raised maki-e).