This video compares seven different fabric and paper materials for nunokise (cloth reinforcement) in lacquerware making. It is useful for lacquer artisans evaluating substrate options for edge reinforcement and textured surfaces. The presenter tests each material's cuttability, adhesion, drying behavior, and suitability for specific vessel types.
A walkthrough written from 成盐漆作 Lacquer ChengYan’s video ↗.
The recording is the authoritative demonstration; this page is a working guide to it.
Raw urushi causes serious delayed skin reactions. Ensure proper ventilation and skin protection when handling lacquer during nunokise application.
Read Safety First before working with raw urushi.
Tools shown
Scissors— Used to cut fabric samples; ease of cutting varies by material
Spatula/hera— Implied for scraping lacquer flat during nunokise
Materials
100% linen cloth (Japanese)— Soft, thin; prone to deformation and curling
Kanreisha (fine linen/gauze, Japanese)— Fine threads; good for small items and cloth-textured surfaces
Cotton under-cloth— Thicker, harder; requires more lacquer and longer drying; good for overall texture
Ramie under-cloth— Hard, dense fibers; sturdy; standard for kanshitsu large items
Wool/silk blend (Chinese)— Slippery; high lacquer absorption; good edge fit
55% cotton/45% linen (Japanese)— Tough, dense; no fraying; smooth surface
Meixi paper (Japanese)— Thinnest; requires deep lacquer base layer; low water permeability
Conditions
cure time — Cotton under-cloth requires an extra one or two days for drying due to higher lacquer absorption.
notes — Drying times vary by material thickness and lacquer absorption.
The method
Section by section.
Each heading links back to the moment in the source video where it begins.
One video is one workshop's account, not a complete method. 2 of 7 steps here are not fully settled by
this source — it leaves out what a correct result looks like, or how the step
fails. Those are marked in place below.
The first sample is Japanese 100% linen. It is soft, thin, and easy to cut. However, it is too soft for nunokise: the warp and weft stretch and deform at intersections during application. It is difficult to scrape flat. While it wraps edges well, it curls after drying and does not protect the vessel body effectively. Cutting is not smooth, and the fabric breaks into pieces. The presenter concludes this material is unsuitable for future nunokise work.
When it goes wrongFabric deforms, curls after drying, and breaks when cut. Recovery: discard and select a stiffer fabric.
Not settled by this video The source does not state what a finished, correct result looks like here.
The second sample is Japanese kanreisha, a fine linen gauze. The threads are fine, and the fabric has decent hardness. Edges cut cleanly. It is suitable for creating a cloth-textured surface, especially on small items. It does not trap air bubbles during application, shows no deformation after drying, and produces a clear, neat surface texture. It is easy to cut. The presenter identifies this as a preferred material for frequent use, particularly for texture work on smaller pieces.
When it is rightClear, neat surface texture; no air bubbles; no deformation after drying.
Not settled by this video The source does not show what going wrong looks like here.
The third sample is cotton under-cloth, thicker and harder than kanreisha. It has similar advantages to kanreisha but with thicker threads. More lacquer is required during application, necessitating an extra one or two days for drying. The warp and weft are straight and aligned, making it suitable for overall texture work rather than local areas. Because it is thick, matching its thickness requires about seven layers of lacquer, which is time-consuming and difficult to polish. The presenter recommends kanreisha for cloth-textured surfaces and cotton under-cloth for overall texture.
When it is rightStraight, aligned warp and weft; suitable for overall texture.
When it goes wrongRequires excessive lacquer layers and polishing time for local texture work.
The fourth sample is ramie under-cloth, which is much harder with dense fibers. The surface becomes very sturdy after nunokise, making it the standard choice for large items using kanshitsu. However, it is too hard for small items with distinct curves, where wrapping ability is poorer. When scraping lacquer, the surface is visibly uneven to the naked eye, likely due to varying ramie thread thickness. For large kanshitsu items, using coarser clay to scrape the surface after applying the cloth can address flatness issues. It is easy to cut after drying and smooth to work with.
When it is rightSturdy surface; easy to cut after drying.
When it goes wrongSurface unevenness visible to naked eye; poor wrapping on curved small items. Recovery: use coarser clay for scraping on large items.
The fifth sample is a Chinese wool-silk blend (100% wool warp, 100% mulberry silk weft). It is not a common nunokise material. The silk is shiny and slippery, causing the fabric to shift during application. The wool fibers are coarse and absorb lacquer strongly, leading to lacquer accumulation. Despite these issues, the wrapping effect on edges is very good and fits closely. After drying, it is surprisingly easy to cut. The presenter notes that if the slipperiness were ignored, it would be quite good for nunokise, and the silk content suggests long-term preservation.
When it is rightGood edge fit; easy to cut after drying.
When it goes wrongFabric shifts during application; lacquer accumulation due to wool absorption.
The sixth sample is a Japanese 55% cotton/45% linen fabric. It is thinner than pure linen but has stronger toughness and denser threads. Edge threads do not fray. The wrapping effect is very good and fits closely. There is no air bubble accumulation, and the surface is relatively smooth after drying. There is no deformation due to thinness. The only drawback is that when cutting, one end must be held to cut the rest. The presenter also mentions dou bao bu, a similar cloth with higher cotton content, which was not tested but is expected to perform similarly.
When it is rightSmooth surface; no fraying; no air bubbles; no deformation.
When it goes wrongRequires holding one end while cutting.
The seventh sample is Japanese Meixi paper, the thinnest material. It must be used with a base layer of deep lacquer (shen-urushi) before pasting, followed by another lacquer layer. The paper fibers are denser than cloth, resulting in very low water permeability. Without the deep lacquer support, it will not adhere well. It cannot be used alone as a single layer because it is too thin to protect the vessel or provide sturdiness for kanshitsu items. It is best used in combination with other cloths. Cutting after drying is convenient. Japanese paper is recommended over domestic papers, which often lack sufficient fiber.
When it is rightGood adhesion with deep lacquer base; convenient to cut after drying.
When it goes wrongPoor adhesion without deep lacquer base; insufficient protection if used alone.
Terminology in this video
布着せnunokise
cloth reinforcement over edges
乾漆kanshitsu
dry-lacquer core technique
深漆shin-urushi
deep lacquer (base layer)
Left open
What this video does not settle.
The exact brand or grade of each fabric is not specified beyond origin and fiber content.
The specific type of deep lacquer (shen-urushi) used for Meixi paper is not identified.
The coarser clay mentioned for ramie under-cloth is not specified by grit or type.