Putting ancient lacquer art under spotlight
In 2012, Hong Kong entrepreneurial couple Cao Qiyong and Luo Bizhen donated 161 lacquered antiques valued at 167 million yuan (US$26.1 million) to Zhejiang Museum, greatly enriching the museum’s collection of lacquered objects.
Meanwhile, the museum has created an academic research foundation to support this traditional craft, as it is gradually winding down along with social development. The museum supports artisans’ creations of designs and styles, aiming to inject new energy into the old art form.
An exhibition displaying artworks by modern-day craftspeople is underway through August 8 at the museum’s Gushan Pavilion.
China’s history of making lacquerware dates back to the Neolithic Age. An unearthed lacquered bow excavated in Hangzhou is believed to be the earliest lacquered object found anywhere in the world, giving weight to the theory that Zhejiang Province was the origin of China’s lacquerware culture.
It is believed that at that time, the sap of lacquer trees was used to varnish and protect daily necessities. Objects covered with lacquer were moisture, heat and corrosionresistant, as well as smooth and shiny. They were popular and gradually developed into a traditional craft along with dynasties.
Most objects on display in the exhibition were used as daily necessities. Wen Qiangang, a top-notch craftsman who lives in Beijing, made a teapot carved with lychee patterns and a silver gilded lid, handle and spout.
A lacquered vessel like Wen’s has to be coated with around 100 layers of lacquer and dried, smoothed and polished, making it thick enough to be carved with designs. The vessel must then be coated again to seal it. One piece can take years to complete, depending on the complexity.
Thanks to the time-consuming process and high price, lacquered furniture, such as screens, wardrobes and beds, was a luxury product exclusive to wealthy people in ancient times.
The exhibition includes a folding screen made by Wen, themed around the four seasons — willows and birds in spring, lotus flowers and ducks in summer, reeds and swan geese in autumn and plum blossoms and cranes in winter. Such common views were often
used as themes in traditional ink-wash paintings.
Cricket fighting was a popular game during the Southern Song Dynasty (1127-1279). The popularity of cricket rearing also promoted the art of making cricket pots which were not only used for raising the insects but also regarded as collectible art pieces.
In addition to wooden and ceramic cricket pots, wealthy people favored luxurious, lacquered pots as well. The exhibition displays a pot produced by Man Jianmin, ornamented with geometric veins, symmetrical motifs and botanic patterns.
The Song Dynasty (960-1279) is considered the heyday of the lacquer industry in Zhejiang. Artisans perfected the art, and their superb skills greatly boosted the craft’s development during that period.
Song people preferred simple and plain styles, which made single-colored lacquerwares the most popular during the dynasties. The most common colors used were black and red.
However, present-day craftspeople adjust the composition of pigments and produce colorful objects that mesh with modern aesthetics.
Artist Lin Yi created a box with different hues, including dark green, red, black, yellow and blue. All the colors are in sharp contrast, and the
patterns are simple and plain.
Some artisans have imitated vessels from ancient dowries. In ancient times, when a girl was born, her parents would prepare dowries. After years of preparation, the dowries often included myriad items, from containers to bowls.
Every item must be painted with red lacquer, traditionally considered auspicious in China. The more lacquered vessels, the higher the status their daughter would have in her new family.
Visitors to the exhibition can also view food containers made by Man, Zhang Laixi and Yang Zhixin.
Man created a container in the shape of a peach. In Chinese culture, peaches symbolize the longevity and good luck. Ornamented with floral patterns, auspicious clouds and vines, the cover is carved with the character “chun”(ؾ) which literally means spring in Chinese. Beneath the character is a box filled with treasures. Such containers are often used to add festive vibes to ceremonies.
Lacquered Objects Exhibition Dates: Through August 8 (closed on Mondays)
Admission: Free
Venue: Zhejiang Museum’s Gushan Pavilion
Address: 25 Gushan Rd
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