Lacquerwork

I

Introduction

Lacquerwork, the process of applying a varnish to the surface of a material, most commonly wood, as both a decorative and protective device. Lacquer, a type of varnish, possesses two notable characteristics: It creates a surface impervious to high temperatures and moisture, and it blends readily with pigments or other embellishments. True lacquer is made from the purified and dehydrated sap of Rhus vernicifera, a species of sumac tree found in Southeast Asia; this is the material in which traditional Chinese and Japanese lacquerwork is done. Shellac, traditionally used in European and American work, is produced from the secretions of the scale insect Laccifer lacca.

II

Chinese Lacquerwork

In all probability, lacquerwork originated in China; the earliest examples are archaeological fragments from the Shang dynasty (1570?-1045? bc). Pottery with lacquered paint has been discovered at sites of Western Zhou (1045?-771 bc) settlement. In the succeeding Eastern Zhou (770-256 bc) and Warring States periods (403-221 bc), lacquer became an important art form. The Ch'u people, who controlled an area encompassing much of central and southern China in the Warring States epoch, adorned household goods such as bowls and cosmetic boxes with intricate lacquer designs of animals and human figures. Preserved for centuries in tombs, these artifacts constitute some of the earliest known examples of Chinese painting.

In the Han period (206 bc-ad 220), the decoration of surfaces with brightly colored lacquered pigments attained its greatest popularity. Wooden utensils, as well as furniture and coffins, were lavishly decorated with abstract motifs and fanciful creatures.

During the Tang (T’ang) dynasty (618-907), lacquer was commonly used to protect and color wooden statues of Buddhist deities. In addition, an important new decorative element—designs carved on a lacquered surface—first appeared in Tang lacquerwork. This technique was rarely practiced in the succeeding Song dynasty (960-1279), when simpler lacquer painting in black or red was preferred. More ornate decoration reappeared, however, during the Yuan (Yüan) period (1279-1368). Surface carving reached new heights of intricacy, and the use of inlay, such as mother-of-pearl, became widespread.

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Carved red lacquer was favored in the early years of the Ming dynasty (1368-1644); by the 16th and 17th centuries, however, a rich variety of colors had been introduced, including green and yellow. Furniture and household objects, such as bowls and trays, continued to be the most popular forms of lacquerwork. Ornate surfaces characterize Qing (1644-1911) lacquers. During this period, both the carving and the application of semiprecious stones and gilding were practiced. Large screens or panels, often depicting a landscape with figures, were especially popular for export; many were shipped to Europe, as well as to Japan and India. In modern-day China, highly skilled lacquer workers continue to employ a wide variety of traditional techniques.

III

Japanese Lacquerwork

The earliest lacquerwork in Japan dates from the Nara period (ad 710-84). Eighth-century Buddhist statues with lacquer surfaces have survived, undoubtedly a style imported from Tang China. In the Kamakura era (1185-1333), carved lacquerwork gained popularity among the Japanese. In the Momoyama period (1574-1603), Japanese lacquerwork developed its distinctive character. Black lacquer surfaces decorated with floral motifs in gold, most often on near-miniature objects, are the most famous examples from Momoyama workshops.

The two hallmarks of Momoyama lacquerwork—use of gold leaf and paint on a monochrome (usually black) lacquer surface and delight in small, jewel-like designs—reached their apogee in the Tokugawa period (1603-1867), most notably on inro, small rectangular boxes for snuff or cosmetics that were hung from the sash of the Japanese garment.

The various objects used in the traditional tea ceremony—cups, teapots, water containers—were also favored forms of Japanese lacquerwork. Tea utensils and household objects are similarly decorated in present-day Japan.

IV

Western Lacquerwork

Influenced by exported Oriental lacquerwares, European workshops developed a derivative process known as japanning, which attempted to copy popular styles. German lacquerwork of this type will sometimes have the name Japan written on it, causing subsequent confusion among dealers and collectors.

See also Chinese Art and Architecture.