Lacquerware is one of Japan's traditional crafts and is extremely profound, carefully crafted one by one by the hands of artisans using traditional methods handed down from generation to generation. Among them, Takayama Kiyoshi, famous for Hiroshima lacquerware, started as a lacquer shop for Buddhist altars in 1913. Loved by many people, the company has a very long history, celebrating its 100th anniversary in April 2013 as it became involved in the manufacture of Buddhist altars and temple utensils. Since ancient times, Hiroshima has been a land where the Jodo Shinshu faith has flourished to the extent that it is known as Aki-monkatsu, and many gold Buddhist altars recommended by the Jodo Shinshu have been manufactured for believers. This historical background led to the growth of the Buddhist altar industry in Hiroshima, and the high level of lacquer craftsmanship involved in the process of making Buddhist altars led to Hiroshima lacquerware becoming a traditional craft designated by Hiroshima Prefecture.

　Although lacquerware is such a traditional craft, it has lost much of its popularity due to the spread of plastic and chemical paint products and changes in lifestyle. However, lacquerware, which was born from living with nature, can be repaired and used for many years, and can be passed on to the next generation. Another advantage of lacquerware is that it can be passed on. Lacquerware can be repainted many times, and even when it is damaged, the process of kneading and polishing, and then painting and polishing, is repeated over and over again. The different shapes of each piece can be seen differently depending on how it is painted, and the unique curvaceous beauty of the piece can be expressed.
　The painting process of Hiroshima lacquerware consists of 17 steps: "hardening the base of the wood, stretching the cloth, sliding the cloth, jitsuke (2 to 3 times), rusting (2 to 3 times), undercoating, middle coating, and top coating," if the polishing process is included. Each process has its own meaning. At the stage of applying lacquer, high humidity can lead to the failure of the lacquer, such as chijimi or burning, and although the dried lacquer is strong, the process of drying is difficult and humidity and temperature must be controlled. The base of the lacquer is sometimes exposed to the wind, and after the process is completed, the lacquer must be dried thoroughly before moving on to the next process, which also takes time. Lacquer painting is more like "growing" than "making.

　Even today, the fourth generation of Kiyoshi Takayama still creates bold lacquerware based on the concept of "giving a new form to a traditional technique. His playful and free expressions, such as sharply shaped sake cups, tilted cups, and the use of "dry lacquer" technique, which is not usually used for tableware, have won him many awards in just three years, including the Asahi Shimbun Award at the Japan Traditional Lacquer Art Exhibition, the Japan Chamber of Commerce and Industry President Award at the National Traditional Crafts Competition, and the Hiroshima Prefecture Governor Award at the Japan Traditional Crafts Chugoku Branch Exhibition, Hiroshima Lacquerware has received many prestigious awards. Hiroshima Lacquerware continues to evolve so that people can incorporate traditional Japanese culture into their daily lifestyles.