Layers and Cuts

For thousands of years, the sap of the lacquer tree has been among the most precious materials in East Asia. It is used to coat, impregnate, and colour wooden objects and ceramics, producing surfaces of exceptional depth, lustre, and durability.

The production of carved lacquerware was established during the Song dynasty (960–1279) and developed into a highly complex technique of impressive precision. Dozens of single layer coatings are applied and then dried over the course of weeks and carved into relief with precise cuts. Layers of different colours, tinted with mineral pigments, create finely balanced contrasts and contours. Vibrant cinnabar red is a characteristic feature, which to this day is considered the epitome of Chinese carved lacquer, but outstanding artistic works have also emerged in the realm of black lacquer and mother-of-pearl inlays. The delicate decorations of the carved lacquerware mostly refer to myths and symbols of Daoism and Buddhism, as well as to the world of birds and flowers.

Supported by

Orientstiftung zur Förderung der Ostasiatischen Kunst
Fördererkreis des Museums für Ostasiatische Kunst Köln