A perfectly circular carved red lacquer plate vividly depicts a lotus pond in full bloom, where open flowers and lush, overlapping leaves create a dense landscape. Above the water is a pair of mandarin ducks spreading their wings. One stretches its neck upward, while the other dives, creating a sense of movement.
A small carved inscription dates this piece to the reign of Emperor Yongle (1403-24) in the Ming Dynasty (1368-1644). An exemplary work of lacquerware, this piece is a prized holding of the Liaoning Provincial Museum, Shenyang, Liaoning province.
The plate is among the highlights of The Art of Lacquering — Exhibition of Yuan, Ming, and Qing Lacquerware Masterpieces, now open at the museum through March 30. It shows 177 lacquerware objects from the collections of the Liaoning Provincial Museum and the Shenyang Imperial Palace Museum, showing the medium's technical sophistication and cultural evolution.
A wide range of traditional lacquer techniques are shown, including lacquering, painting, carving, filling, and inlaying. The methods are demonstrated across an array of objects, from small tables, boxes and plates to pen brushes.
China is known as the world's earliest civilization to discover and utilize natural lacquer. Archaeological evidence confirms a lacquerware tradition dating back about 8,000 years, which has continuously evolved to the present day. The techniques have also spread to the Korean Peninsula and Japan.
"Throughout history, Chinese lacquerware has united durable practicality with brilliant artistry, solidifying its status as a timeless art form," says Wang Zhonghua, from the Liaoning Provincial Museum.
During the Han Dynasty (206 BC-AD 220), lacquerware served as ritual and wine vessels for the nobility. By the Tang Dynasty (618-907), it had taken on a diplomatic role, becoming a valued foreign trade commodity and a form of imperial gift. From the Song Dynasty (960-1279), lacquerware became increasingly secular with artisans crafting everyday items like cup stands and scholar's utensils.
In the Yuan Dynasty (1271-1368), while lacquerware largely maintained Song-era forms, the period saw the emergence of renowned lacquer artisan masters. By the Ming and Qing (1644-1911) dynasties, lacquer production incorporated the full spectrum of earlier techniques, achieving an unparalleled zenith with exquisite decorative artistry and profound cultural significance.
"Compared to lacquerware from earlier historical periods, all the pieces on display here are made for daily use and decorated with vivid motifs, such as flowers, birds, landscapes and figures," she says.
"This secular focus, combined with the masterful use of diverse techniques, epitomizes the artistic achievements of the Yuan, Ming and Qing dynasties. Some pieces display a visual appeal that aligns with contemporary aesthetics."
The exhibition showcases exquisite techniques such as gold tracing, gold-leaf gilding, and mother-of-pearl inlay. Detailed graphics and text accompany the elegant pieces, guiding visitors through the processes behind their creation.
Objects from the Shenyang Imperial Palace Museum are mostly imperial wares. One notable example is a red lacquer box shaped like chrysanthemum petals, dating to the reign of Qing emperor Qianlong. On its base is a poem composed by the emperor himself, praising the object's exquisite craftsmanship and elegant form, likened to the lightness of a real flower.
Bodiless lacquerware is constructed by layering textiles soaked in raw lacquer over a clay mold. Once dry, the mold is removed, and the object is meticulously finished through repeated lacquering and polishing. The signature technique produces objects that are light, resilient, and resistant to cracking.
Also on show is one of the only four extant examples of the Tang Dynasty guqin zither named Jiuxiao Huanpei, which means enchanting jingles of jade pendants from the highest heavens.
"Long-term use causes lacquerware to form natural cracks on its surface. We selected a Tang-era artifact for this exhibition precisely to showcase these varied cracks. They serve as a crucial indicator for dating the instrument, as they typically emerge after centuries," Wang says.
"The patterns, especially those on the guqin, are highly prized by connoisseurs as cherished marks of age. They have poetic names according to their forms, each embodying a unique aesthetic philosophy that transforms the passage of time into a tangible art."
