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.
This special exhibition shows around 60 important Chinese lacquer works from the 12th to the early 17th century held in a Cologne private collection, complemented by selected works belonging to the Museum of East Asian Art. Among the special highlights are the understudied group of Yunnan lacquerware from the Yuan dynasty.
Supported by
Orientstiftung zur Förderung der Ostasiatischen Kunst
Fördererkreis des Museums für Ostasiatische Kunst Köln
