Collecting Lacquer Art: Explore Its History, Beauty, and Age-Old Savoir-Faire

Lacquer art possesses an enigmatic allure that ages beautifully over time. Its distinctive gleam illustrates both sophistication and everyday charm—attributes exclusive to the natural lacquer derived from the lacquer tree.

Unlike most substances that require reduced moisture to dry, lacquer undergoes the drying process in the presence of moisture. This distinct characteristic may be the secret behind lacquer’s reserved yet captivating allure.

Valued for its waterproof, resistant, and long-lasting nature, lacquer art boasts a history dating back over 9,000 years. It was used in rudimentary forms during the Jomon Period (circa 14,000–300 BC) and the Hemudu culture (5500 BC–3300 BC).

During the Shang and Zhou dynasties (1600 BC–256 BC), lacquerware diversified, evolving into a more sophisticated and varied art form. Over the centuries, lacquerware surpassed its utilitarian origins to become a sought-after art, riveting connoisseurs worldwide.

Lacquer’s use and production extended beyond China to other East Asian countries, notably Japan, where the craft underwent extensive development and refinement. In the Western world, lacquer gained widespread recognition under its Japanese term—urushi—due to Japan’s influence on lacquerware’s refinement and expression.

Hailed as a “Living National Treasure” in Taiwan, artist Wang Ching-Shuang is a torchbearer of this time-honored art form. Alongside his sons, Wang Hsien-zhi and Wang Hsien-min, and grandson, Wang Chun-wei, this three-generation family not only preserves the formidable techniques of lacquer but also infuses a contemporary vibe into this ancient craft.

In this article, we guide you through a journey across the history of lacquer from East to West, revealing how age-old techniques contribute to the creation of timeless contemporary works.

How is lacquer made?

Lacquer comes from the sap of the urushi tree, a natural resin. Before being applied as paint, the collected sap must be filtered and purified, then heated.

Crafting lacquerware involves an intricate process comprising over a dozen steps. Application occurs in multiple layers, starting with an uncolored base. A single lacquered object may have more than thirty layers, each thinly applied and completely dried before the next is added.

The drying process takes place in humidified spaces since lacquer requires moisture to fully harden. Rather than simply drying, lacquer is cured in this humid environment. Hardening can vary from two weeks to six months per layer.

Once a layer is completely hardened, meticulous hand-polishing follows to achieve a flawlessly smooth surface. Craftsmen work to prevent any impurities (i.e. dust) from blemishing the lacquer before the next curing process. Only after the preceding layer is impeccably smoothed can the next layer be applied, initiating the curing process once more.

This layering and polishing of a finely crafted lacquer piece can take up to several years to complete. The painstakingly slow process ultimately results in the unrivaled and prized allure of the coveted final lacquer art.

History of lacquer in Europe

Lacquerware made its way to Europe during the early 16th century and, much like porcelain, swiftly gained popularity among the European elite.

However, Europeans soon realized they couldn’t produce lacquerware locally because its primary ingredient, resin from the urushi tree, was predominantly found in East Asia. Raw lacquer resin couldn’t be shipped to Europe as it would harden during the lengthy voyage. To meet European demand, China and Japan started producing lacquerware for export, tailoring it to European tastes.

Historical records suggest substantial purchases of Chinese lacquerware by the French Royal Palace between 1663 and 1715. Notably, after its visit to China, the famous ship Amphitrite came back loaded with lacquerware, giving rise to the term “Amphitrite lacquerware.”

The distinctive embellishments and artistic finesse of lacquer art have made it a highly esteemed form within the Western world. Luxury fashion, jewelry, and watch brands like Chanel, Chopard, Jaeger-LeCoultre, Montblanc, among others, have embraced lacquer art, seamlessly integrating it into their creations.

Exploring the know-how of lacquer art masterpieces

Over the centuries, the art of lacquering has evolved into a richly layered savoir-faire. Below, we’ll showcase a variety of appealing techniques applied by master Wang Ching-Shuang and his family, techniques that have been honed and passed down through generations.

1. Ramee lacquer, also known as bodiless lacquer

Ramee lacquer, first invented during the Warring States period (475–221 BC), is an extraordinary form of craftsmanship. Initially used to make Buddha statues thousands of years ago, this technique yields statues that are exceptionally lightweight while also boasting intricate details.

A notable example is the revered statue of the Eighteen Arhats, housed at the White Horse Temple—the first Chinese Buddhist temple, established in 68 AD. Despite standing nearly two meters tall, this statue, made of ramee lacquer, weighs less than 5 kilograms.

王賢志《高冠展翠1》、《高冠展翠2》
Title: Majestic Grace 1, 2018 & Majestic Grace 2, 2019
Artist: Wang Hsien-zhi
Medium: lacquer
Size: 48*48*46 , 36*36*66 cm

Using Ramee-Lacquer techniques, lacquer master Wang Hsien-zhi meticulously crafted these vases, both titled Majestic Grace, using mellow, exceptionally lightweight, and gracefully flowing bodies. Achieving the perfect shape demanded dedicated effort spanning at least six months.

2. Raden: seashell inlay

Raden is an ancient decorative technique that uses thin, iridescent seashell pieces, such as abalone or mother-of-pearl. These delicate shells are intricately cut into patterns and applied to lacquer surfaces, resulting in beautiful interplays of light and color.

王峻偉《夜曲》
Title: Nocturne, 2023
Artist: Wang Chun-wei
Medium: lacquer
Size: 95*95 cm

Wang Chun-wei’s Nocturne depicts frosty blue lilies blooming against a midnight-black lacquer background, inlaid with rhythmic streaks of seashell. The iridescent shimmer of the shells resembles cascading water from a distance, while the flecks inlaid at the top and bottom resemble water sprays. The artwork portrays pristine lilies blossoming in the moonlit night amid a sparkling, musical rainfall.

3. Eggshell inlay

Lacquer is known for its exceptional adhesive properties. This innate adhesive strength enables it to affix decorative materials securely, turning ordinary surfaces into captivating pieces of art. Apart from seashells, finely crushed or powdered eggshells can be delicately embedded into layers of lacquer to create intricate designs by master artists.

王賢民《舞》
Title: Balletic Symphony, 2017
Artist: Wang Hsien-min
Medium: lacquer
Size: 75*75*5 cm

When Wang Hsien-min crafted this plate, titled Balletic Symphony, he employed a technique demanding an extraordinary level of meticulousness, patience, and creativity. The ivy-toned peonies and tastefully embellished peacocks are exclusively crafted from delicate eggshell inlays. The intricate initial process involves thorough cleansing and the careful manual removal of the wafer-thin membrane.

The most challenging aspect lies in meticulously planning and executing the desired pattern within the eggshell fragments. Consider the periphery of the petals, which requires a radiant quality. In this area, larger eggshell fragments are carefully selected to achieve enhanced brightness. Moving towards the flower’s core, a finer delicacy is pursued, with amber-hued lacquer delicately emphasizing the seams, creating a distinctive and timeless texture.

Adding to the complexity, the irregular contours of the smaller fragments demand meticulous connection, mirroring the organic fractures that naturally occur after cracking eggs. Through the masterful touch of the artist, this process achieves a sophisticated texture, capturing the essence of both fragility and artistry in a harmonious blend.

4. Maki-e

As implied by its name “Maki-e,” which translates as “sprinkled picture” in Japanese, the technique involves sprinkling or dusting metallic powders onto lacquer surfaces to craft intricate and delicate patterns.

Maki-e is an exceptionally complex technique, requiring many years of training for a craftsman to master the necessary skill sets. This mastery involves learning how to create diverse colors and textures using various metal powders, as well as mastering tools like bamboo tubes and soft brushes for powder application.

The act of sprinkling presents a greater challenge in control compared to the precision of drawing with a pen. A single layer of powder is insufficient to achieve the desired outcome. The meticulous procedure demands multiple layers, each encompassing painting, powder sprinkling, and lacquer grinding. This repetitive and layered approach is essential for attaining the nuanced and desired artistic effect.

王賢志《高冠展翠2》
Title: Majestic Grace 2, 2019
Artist: Wang Hsien-zhi
Medium: lacquer
Size: 48*48*46 cm

In the piece Majestic Grace 2 by Wang Hsien-zhi, metallic powder and shell powder are ingeniously used to reproduce the peacock’s shimmering gradient neck feathers, accentuating the bird’s nobility and elegance. The powders are layered to appear more textured and pigmented, or sprinkled sparsely to appear fainter, mimicking the highlighting and shadowing effects of painting or sketching.

A lacquer art piece of such an impressive level of expertise is the product of many years of experience and practice. Each feather requires dozens of steps to complete, and there is no room for mistakes in either the lacquering or the maki-e process.

5. Cover and Grind 罩漆磨顯

“Cover and grind” succinctly and effectively demonstrates a technique that achieves a hazy effect. Initially, an image or pattern is carefully painted with lacquer. Once dry, it’s entirely coated with black lacquer. This new layer must dry, and then it’s sanded down until its opacity diminishes, revealing the underlying design. Depending on the extent of sanding, the outcome ranges from faintly discernible to a grainy effect akin to vintage film photographs. This technique adds depth to the design, enhancing the enigmatic nature of black lacquer.

王賢志《春曉》
Title: Plum Poetry, 2017
Artist: Wang Hsien-zhi
Medium: lacquer
Size: 30*30*60 cm

This remarkable vase by Wang Hsien-zhi, titled Plum Poetry, showcases a culmination of various complex techniques, including the intricate use of “cover and grind.” The subtle presence of fluid calligraphy on the black lacquer is achieved through this technique. The calligraphy is initially painted on the vase, then covered with a layer of lacquer and meticulously polished until it becomes visible, appearing as if it’s recessed into the background—almost as if it’s a secret unveiled by the cryptic nature of the black lacquer, but only to the observant viewer.

王清霜《雙鳥與木棉花》
Title: Songbirds and Kapok Blossoms, 2001
Artist: Wang Ching-shuang
Medium: lacquer
Size: 45*60 cm

In Wang Ching-shuang’s Songbirds and Kapok Blossoms, the dark crimson flowers seem almost engulfed by the deep black lacquer background. The vivid orange maki-e blooms in the foreground were painted over the red flowers following the execution of the “cover and grind” technique. Unlike conventional painting methods that rely on shadowing and highlighting for a layered effect, the repetitive coating and polishing of lacquer produce a complex, layered appearance.

6. Inlaid gold

“Inlaid gold,” an age-old lacquer technique dating back to the Warring States period (475–221 BC), involves meticulously embedding gold powder into finely carved grooves made by a needle on a semi-wet lacquered surface. Masterful hands must execute this technique with utmost precision, resulting in remarkably ethereal and charming pieces.

王峻偉《夏日荷風》
Title: Whispers of Lotus, 2017
Artist: Wang Chun-wei
Medium: lacquer
Size: 46*46*45 cm

This vase by Wang Chun-wei, aptly titled Whispers of Lotus, reflects the noble and unsullied characteristics for which lotus flowers are often admired. The flowers on the vase appear to sway gently in the breeze atop clear waters, embodying an image of tranquility and purity. The timeless combination of black and gold, popular since ancient times, is showcased here through the inlaid gold on glossy black lacquer. This addition lends the vase a high-class sophistication while preserving the humble reserve typical of Eastern culture.

7. Kawari-nuri: varied lacquering

“Kawari-nuri,” translated as “varied lacquering,” encompasses diverse techniques involving the repeated application and polishing of multiple layers of colored lacquer. These layers unveil unique and intricate patterns from the underlying surfaces.

王賢志《春曉》
Title: Plum Poetry, 2017
Artist: Wang Hsien-zhi
Medium: lacquer
Size: 30*30*60 cm

The upper red section of Wang Hsien-zhi’s vase, Plum Poetry, features the prestigious rhinoceros leather lacquer, one type of Kawari-nuri that highlights the innate beauty of rhinoceros leather alongside the glossy lacquer finish. The result is a unique and appealing appearance that’s sure to captivate discerning connoisseurs of fine art.