CHINESE LACQUER: FROM ORIGINS TO CONTEMPORARY ART
BODILESS exhibition | EAST WEST SPACE Barcelona
INTRODUCTION
When people think of lacquerware, Japan, Korea, or Southeast Asia usually spring to mind. Yet China’s relationship with lacquer dates back at least eight millennia, making it the world’s oldest and most continuous lacquer tradition.
How did this viscous tree sap become a medium of ritual, power, and beauty? Which techniques evolved as dynasties rose and fell? What roles did lacquer play across time, and why does it still fascinate contemporary artists? These questions gain force when set against China’s long, nearly uninterrupted civilizational timeline of five millennia—and, as recent archaeology suggests, perhaps far longer.
Historian-archaeologist Han Jianye (Renmin University) traces China’s civilizational origins to roughly 8 000 BP. In The Origins of Chinese Civilization (2021）he places early China at the heart of an “Eastern cultural zone” on the Eurasian continent. Through millennia of layered growth, that society forged a distinct identity expressed in materials unlike those of any other ancient culture. Chinese lacquer (Zhōngguó dàqī) evolved in concert with this shifting yet deeply historical landscape, transforming not only in technique but also in symbolic meaning.
This article follows a threefold trajectory: first, it investigates lacquer as a natural material—its chemistry, working properties, and craft ecology; second, it traces an 8,000-year evolution and the dominant aesthetics and social roles that marked each period; third, it surveys the contemporary condition and experimental practices that are redefining Chinese Lacquer for the twenty-first century.
LACQUER AS A NATURAL MATERIAL
The Chinese graph 漆 is a compact etymology lesson: its top radical is 木 (wood), the centre stroke a stylised 人 (person), and the bottom component 水 (water), evoking a figure drawing liquid from a tree. In Shuōwén jiězì (《说文解字》, c. 100 CE), the lexicographer Xu Shen defines the earlier form 桼 as “the sap of wood, used for coating; written with the 木 radical and drawn pictographically, because lacquer drips downward like water”.
The lacquer tree (Toxicodendron vernicifluum) is indigenous to East- and Central-Asia, but only in China does it yield sap of consistently high quality and volume. The species flourishes south of a line running from southern Gansu to Shandong, where a warm, humid climate provides ideal growing conditions.
Raw lacquer sap extracted from the Toxicodendron vernicifluum tree
In China this sap is honoured as guó qī 国漆—“the national lacquer.” Artisanal lore praises top-grade sap with the adage “white as snow, red like blood, black like iron”, describing the colour shifts that occur during oxidation. Fresh sap—tapped each April to August—contains roughly 80 percent urushiol, together with plant gums, nitrogenous enzymes, water, and trace volatile acids. Higher urushiol content yields tougher, more lustrous films: enzymes in the nitrogenous fraction catalyse urushiol’s oxidative polymerisation, producing the hard, durable coating and the faintly acidic aroma characteristic of raw lacquer.
Chemically, raw lacquer is a high-performance natural coating—heat-resistant, corrosion-proof, electrically insulating, and acid-resistant—so esteemed that it is dubbed “the king of coatings.” Today it is applied in fields ranging from aerospace and naval engineering to biomedical devices, underground construction, textile printing, and the conservation of cultural heritage.
That performance comes with a cost: high urushiol levels can trigger skin irritation or allergic reactions in the farmers who tap the trees and the artisans who work the sap. Lacquerware therefore relies on a two-stage partnership: lacquer farmers, who climb rugged trunks to collect the viscous sap in the mountain forests, and lacquer craftsmen, who refine and apply it at the workbench. Without this chain—forest to studio—China’s eight-millennia lacquer tradition could never have taken root.
AN 8,000-YEAR TRAJECTORY OF CHINESE LACQUER.
Red-lacqure bowl of late Neolithic period excavated in 1978 Hemudu, Zhejiang
China’s engagement with lacquer stretches back some eight millennia. A lacquer-coated hunting bow from the Kuahuqiao site near Hangzhou shows that Neolithic artisans were already sealing wood with the sap of the lacquer tree for waterproofing. A red-lacquer bowl unearthed in 1978 at Hemudu radiocarbon dated to c. 4000 BCE—confirms continuous technical refinement. These finds pre-date late-Jōmon Japanese and early Korean lacquer by three to five millennia, establishing China as the cradle of the world’s earliest lacquer civilization.
Replica of a Warring States–period (475 – 221 BCE) polychrome-lacquer “Twin-Bird Drum on a Tiger Base.”
By the Liangzhu horizon (late Neolithic, c. 3300 – 2300 BCE), lacquerware had fully matured and codified the ritual red-and-black palette.
From the dynasties of Xia (c. 2070 – 1600 BCE), Shang (c. 1600 – 1046 BCE), and Zhou (c. 1046 – 256 BCE) onward, lacquer decoration—often combined with gold foil or shell inlay—enriched coffins and bronze ritual vessels.
Between the Spring-and-Autumn and Warring-States period (c. 770 – 221 BCE) and the Western Han dynasty (202 BCE – 9 CE), innovations such as jiǎzhù (lacquer-impregnated ramie cloth) triggered an unprecedented boom: shapes proliferated, functions diversified, and objects once reserved for elites entered everyday life.
The rise of porcelain shifted lacquer from utilitarian coating to artistic medium. During the Tang dynasty (618–907 CE), bodiless lacquer sculpture, cloth-core lacquer structures, and gold-and-silver foil flat inlay all reached new levels of sophistication and widespread application. The Tang dynasty’s flourishing Buddhist culture propelled this technique to a new height: artisans created large yet lightweight lacquered Buddha images. This method had emerged earlier, during the Wei–Jin and Northern–Southern Dynasties (220–589 CE), where so-called “dry-lacquer” or bodiless figures were prized for their portability and resistance to weather
Song craftsmen (960 – 1279 CE) refined these techniques into an aesthetic of “quiet gloss,” a style that continued under the brief Yuan regime (1271 – 1368 CE). Song-dynasty lacquerware fell broadly into two categories: luxurious pieces embellished with carved red lacquer, incised-and-gilt lines and mother-of-pearl inlay; and plain, undecorated monochrome wares. The latter category dominated both production and daily use, defining the mainstream Song aesthetic—a restrained elegance.
Southern Song dynasty black & red - lacquer lobed dish
The greatest aesthetic achievement of Ming-dynasty lacquer lies in its integrated use of two or more decorative techniques, breaking through the earlier reliance on single-technique work (Deng et al, 2024, p.13865). In the Ming (1368 – 1644 CE) and Qing (1644 – 1912 CE) periods, new lacquer motifs and methods flourished. Especially during the reigns of emperors Kangxi, Yongzheng, and Qianlong, lacquer techniques reached unprecedented levels of refinement. In addition to the imperial lacquer workshops, regional centers of craftsmanship rose to prominence. These included Suzhou's carved lacquer, Yangzhou's lacquer inlay and Fuzhou's bodiless lacquerware. Techniques such as gold painting, gold line drawing, colored lacquer, filled lacquer, incised-and-gilt decoration, raised decoration, calligraphic gold inscription, mother-of-pearl inlay, and cloisonné-style jewel inlay flourished, collectively marking a golden age of lacquer artistry.
The treatise Xiushilu (On Lacquer Decoration)—compiled 1567 – 1572—remains the only pre-modern Chinese monograph devoted exclusively to lacquer technology; its two scrolls contain 18 chapters and 186 entries that systematically describe raw materials, tools, common flaws, and decorative practices current up to the mid-Ming.
These same centuries coincided with the age of global connection—marked by the “discovery” of the New World and an influx of European missionaries into East Asia—which first brought Chinese lacquer to European attention. The earliest documented pieces appear in aristocratic collections in the late sixteenth century (Wappenschmidt, 1989, pp. 2158-2159). Displayed as “exotic rarities” alongside other so-called Indian curiosities in royal art chambers and Wunderkammern, they whetted Europe’s appetite but remained scarce. A true “discovery” came only in the Kangxi period (1662 – 1722 CE): the Dutch and British East India Companies then established a regular import-export trade in lacquerware, moving these objects from princely cabinets of wonder into the broader decorative-arts market (Jourdain & Jenyns, 1948, pp.143-148).
Across eight thousand years, Chinese lacquer thus evolved from practical sealant to symbolic art, from exclusive ritual ware to a material said to “coat all things”. Its enduring gloss and time-worn patina embody an East-Asian craft spirit that fuses resilience, elegance, and philosophical depth. In short, China not only discovered raw lacquer but also laid the foundations of an enduring lacquer civilization that would shape material culture across East Asia.However, political upheavals—the decline of the Qing, Western incursions, civil war, and the Cultural Revolution—silenced this eight-thousand-year craft on the global stage. Only in recent decades has sustained scholarship and studio practice begun to restore Chinese lacquer and its artisans to their rightful place in world material culture.
FROM DECLINE TO REBIRTH: THE CONTEMPORARY TURN
In the wake of 20th century industrialization and political upheaval, Chinese lacquerware nearly vanished from everyday life and cultural visibility. From the 1980s onwards, however, lacquer experienced a sustained revival: traditional techniques re-entered fine art institutions, and contemporary artists began transforming lacquer from a purely traditional craft into a medium for conceptual expression. They explored lacquer's intrinsic qualities—its temporality, memory, and symbolic association with cultural identity.
In the 21st century, globalization and commercialization have accelerated modern life's pace, often overshadowing practices requiring significant time and patience, like lacquer art. Fast-moving consumer goods and mass-produced factory items dominate urban lifestyles, marginalizing traditional artisanal objects. As society's patience dwindled, practices and products demanding careful, meticulous craftsmanship became incongruous with contemporary life.
Yet, this rapid societal development also sparked a realization of the cultural losses incurred by such speed and convenience. Consequently, China initiated extensive intangible cultural heritage programs aimed at preserving and revitalizing traditional arts and crafts, including lacquerware. Beyond institutional support, contemporary young artists began engaging actively with lacquer, merging modern sensibilities and traditional methods in their creative practices.
TOWERS installation | Artist OU TINGHZU
Within this context of renewed interest and innovative experimentation with traditional techniques, exhibitions have become vital platforms to showcase these transformations. Nevertheless, relatively few contemporary artists use lacquer to express modern Chinese voices, primarily due to the material's allergenic nature that deters many creators. Additionally, the time-intensive nature of lacquerwork contrasts sharply with the rapid pace of contemporary life, posing another significant challenge. Moreover, translating traditional craftsmanship into contemporary artistic expression requires substantial creativity. Thus, exhibitions and artists exploring contemporary expressions through Chinese lacquer remain a minority, both within China and internationally.
Yet, amidst this tide, there are always pioneers who choose alternative paths. Renowned Chinese curator, artist, and designer Song Tao is one of them. He actively promotes young Chinese artists who engage in contemporary lacquer art, providing them with platforms both domestically and internationally. Through carefully curated exhibitions, he presents innovative works characterized by contemporary perspectives and a profound respect for tradition and craftsmanship. One such exhibition is taking place at EAST WEST in Barcelona.
BODILESS REIMAGINED: A CONTEMPORARY ENCOUNTER IN BARCELONA
The exhibition "BOBILESS 脱胎" exemplifies this broader resurgence. It specifically highlights the distinctive tuòtāi 脱胎 (“bodiless”) method, a traditional lacquer technique where artisans layer ramie cloth over a clay or plaster model, coat it meticulously with lacquer, and later remove the inner core. This complex and time-consuming method yields objects that are incredibly lightweight yet durable, reflecting contemporary artists' innovative exploration of material and form. Additionally, the term "bodiless" symbolizes the transformative potential of this exhibition, offering both Eastern and Western audiences a renewed sensory experience of Chinese lacquer art and contemporary Chinese artistic expression—much like a rebirth.
“BODILESS”, a contemporary Asian art exhibition in Barcelona
FAQ: ALL ABOUT CHINESE LACQUER
WHAT IS CHINESE LACQUER (大漆)?
Chinese lacquer, or dàqī (大漆), is a natural sap extracted from the lacquer tree (Toxicodendron vernicifluum)—a living material deeply rooted in Chinese civilization. Used for over 8,000 years, lacquer has served as a sealant, artistic medium, and symbol of cultural identity, evolving from Neolithic bowls to contemporary sculpture.
WHY IS LACQUER CONSIDERED A “SLOW” ART?
Each coat of lacquer must be patiently applied and cured in high humidity. The full process—from sap collection to final polishing—can span weeks or even years. This rhythm resists industrial reproduction, celebrating time, attention, and material transformation. As we put it: lacquer is not just applied, it is grown.
IS LACQUER TOXIC? CAN IT BE USED SAFELY?
Uncured raw lacquer contains urushiol and can cause allergic skin reactions—typically in the form of itching, redness, and blistering. While not disfiguring, this reaction often causes the outer skin to peel and regenerate, resulting in a renewed skin layer. This natural process bears an unexpected resonance with the metaphor behind the exhibition title Bodiless: a transformation through shedding, revealing something new and vital beneath. Once cured, lacquer becomes one of the most stable, safe, and durable finishes—traditionally even used on food vessels. This metamorphosis—from volatile sap to resilient surface—not only guarantees material endurance but also reflects the deeper symbolism of healing and rebirth embodied in the idea of tuòtāi (脱胎).
WHAT MAKES CHINESE LACQUER SUSTAINABLE?
Lacquer is organic, renewable, and biodegradable. Its long life span reduces waste, while traditional extraction methods ensure tree longevity. In a world of synthetic speed, lacquer reminds us of a slower, circular relationship between human hands and nature’s gifts.
HOW IS CHINESE LACQUER DIFFERENT FROM JAPANESE OR KOREAN LACQUER?
While sharing botanical origins, Chinese lacquer developed earlier and more diversely. It incorporates techniques such as bodiless construction, carved red lacquer and mother-of-pearl inlay. Rooted in ritual, philosophy, and imperial aesthetics, Chinese lacquer forms a distinct material language shaped by dynastic change and craft lineage.
WHAT IS THE “BODILESS” (脱胎) TECHNIQUE?
The tuòtāi method builds hollow yet resilient objects by layering lacquered ramie cloth over a clay mold, which is later removed. Today, the bodiless lacquer technique (tuòtāi) is most closely associated with Fuzhou, where it has developed into one of the most refined and representative forms of Chinese lacquer artistry, this method has re-emerged in 21st-century art to express themes of lightness, transformation, and time. It is also the namesake of the Bodiless 脱胎 exhibition at EAST WEST in Barcelona.
IS CHINESE LACQUER STILL RELEVANT TODAY?
Yes—and increasingly so. Young Chinese artists are reclaiming lacquer as a contemporary medium. Beyond heritage conservation, lacquer now appears in conceptual installation, sculptural abstraction, and cross-cultural dialogue, as seen in exhibitions like Bodiless curated by Song Tao at EAST WEST SPACE.
WHERE CAN I SEE OR EXPERIENCE CHINESE LACQUER TODAY?
International museums such as the British Museum, the Metropolitan Museum of Art, and the Cleveland Museum of Art display historical lacquerware. Meanwhile, contemporary spaces like EAST WEST in Barcelona present lacquer through a modern lens—via exhibitions, artist residencies, and educational content.
WHERE CAN I BUY CHINESE LACQUER ART?
If you're looking to buy authentic Chinese lacquer art, EAST WEST SPACE in Barcelona is one of the few contemporary galleries in Europe specializing in collectible lacquer pieces. It represents artists working with traditional methods such as bodiless, offering unique works that merge historical craftsmanship with contemporary vision.
Detail of a contemporary artwork made with traditional Chinese Lacquer technique
Interested in any of the lacquer artworks or looking to learn more? Feel free to reach out
Follow EAST WEST to stay connected to the artists shaping a different world.
