The history of Kagawa lacquerware dates dates back to 1642 CE when Yorishige Matsudaira became the feudal lord of Takamatsu Domain after being transferred from the Tokugawa family in Mito. Yorishige encouraged lacquerware policies and the art of sculpture, marking the beginning of Kagawa lacquerware. Successive feudal lords also provided strong support for the protection and nurturing of craftsmanship, including lacquer art, which led to the flourishing of the craft and the emergence of many renowned artisans and masters.

Among them, Tamakaji Zokoku, born in Takamatsu City, is well-known for establishing the distinctive lacquer application technique specific to Kagawa and making significant contributions to the traditional industry of the region. During his studies in Kyoto, he was exposed to various lacquer works, Tang dynasty lacquerware from China and kinma lacquerware made in Thailand, Myanmar, and China’s Yunnan Province.

Instead of adhering to the mainstream maki-e style of the time, Zokoku utilized the techniques he had brought back and developed his unique lacquer art technique. This led to the adoption of the kinma, zonsei, and choshitsu techniques in Kagawa lacquerware.

After Zokoku's passing, his brother took over, but the industrialization of practical lacquerware was unsuccessful. During the Meiji period (1868–1912 CE), there was a period when zonsei, which had been synonymous with Kagawa lacquerware, declined. In its place, sanuki-bori, the technique of applying colored lacquer to wood carvings, emerged and became prominent.

In 1976, five techniques were designated as national traditional crafts: kinma, zonsei, choshitsu, goto-nuri, and Zokoku-nuri, named after Zokoku. Sanuki lacquerware has produced six Living National Treasures to date. The Kagawa Lacquerware Research Institute in Kagawa Prefecture was established to cultivate successors, demonstrating continued dedication to the inheritance of lacquer art.