LACQUER
Natural lacquer is derived from the resinous sap of the lacquer tree, a renewable natural resource. It is known as urushi in Japan, while in China it is called qī, pronounced “ch’i” [漆].
1. About Natural Lacquer
2. Tools Introduction
3. Making Process
4. The History
1. About Natural Lacquer
Natural lacquer is a resinous sap secreted by lacquer trees, classified as a renewable natural resource. Similar to natural rubber, lacquer plays an essential
role in both nature and human life due to its unique physical and chemical properties. Globally, trees capable of producing lacquer sap are primarily found in parts of Asia, North America and Central America, with China being one of the major native regions. China also has a rich tradition of lacquer application and craftsmanship.
Lacquer can be applied to almost any surface: wood, bamboo, stone, metal, leather, and even in the form of bodiless lacquer, where the first few layers are painted onto a temporary core, which is later removed, leaving an object made entirely of lacquer itself. Once cured, lacquer exhibits extraordinary strength and durability, combining beauty and versatility with strong resistance to water, acids, alkalis, and abrasion. Due to its durability and beauty, lacquer has been used for both everyday items and artistic creations.
However, working with lacquer is extremely challenging. In addition to being a potent allergen, it must be applied in very thin layers due to its curing process.
If the layers are too thick, only the outer surface will react with oxygen to harden, leaving the inside liquid. As a result, to build up the thickness of 0.5 to 1.8 cm needed for decoration can require dozens, or even hundreds of layers. Each layer must be carefully painted, dried, and polished, taking one to two days. Preparation alone can take months or even years. But the results are well worth the effort.
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2. Tools Introduction
The tools used in lacquer making are diverse; here are some of the most common ones:
Brush Made from Hair:
A unique tool in lacquer art, crafted from long human hair. It is soft and highly absorbent, allowing for even application of lacquer without leaving brush marks.
Scraper:
Used for mixing lacquer and smoothing putty. It comes in various materials, including horn, plastic, wood, and metal.
Orange Oil:
Serves as both a thinner and a cleaner, used for cleaning lacquer brushes and removing lacquer from the skin.
Sieve:
Used to filter dry lacquer powder, carbon powder, lime, and similar materials. Mesh sizes range from 14 to 120 and should be chosen based on the fineness of the material particles.
Sandpaper:
Used for polishing lacquer surfaces. Different grits of sandpaper provide varying effects depending on the desired finish.
3. Making Process
Lacquer making is crafted from natural materials, making it a sustainable practice that is free from harmful side effects and environmentally friendly.
The traditional production process mainly includes the following steps: Substrate preparation, fabric lamination, putty application (using diatomaceous earth mixed with lacquer to reinforce the substrate), lacquer absorption, lacquering, decorative techniques and polishing.
Sanding and drying are integral to all steps of the process, requiring specific conditions such as maintaining a temperature between 25-30°C and relative humidity between 75%-85%. Each lacquer layer must dry for at least 48 hours, resulting in a making cycle of at least two months for a complete piece.
Chinese lacquer art has a wide variety of decorative techniques. In the Ming Dynasty book Xiu shi lu (Record of Lacquer Decoration), a total of 497 techniques are documented, including drawing gold, inlay (mainly mother-of-pearl), carved lacquer, filled-in, marquetry, and xipiqi. These techniques can be used independently to create distinct lacquerware styles or combined for a more intricate expression.
4. The History
The lacquer culture in China has a profound history, tracing back to the Neolithic period (circa 5000 BCE). Initially, lacquerware was used for everyday items, valued for its practicality. Over time, the craft evolved into artistic decorative techniques and became an integral part of ritual culture during the Xia, Shang, and Zhou dynasties, serving in religious ceremonies, imperial banquets and other significant events. The Tang Dynasty marked the peak of lacquer art, with inlay techniques (mother-of-pearl) showcasing both luxury and exquisite craftsmanship. By the Ming and Qing dynasties, lacquer art reached its zenith in complexity and refinement, particularly through techniques like carved lacquer and drawing gold. The development and preservation of lacquer craftsmanship represent the evolution of sophisticated skills in ancient Chinese culture and continue to be vital parts of cultural heritage today.
In the 17th and 18th centuries, with the expansion of maritime trade, Chinese lacquerware was exported in large quantities through ports such as Guangzhou and Ningbo. It made its way to European countries, where it became a symbol of luxury, adorned in the homes of nobility and royalty. The aristocracy and elite society were deeply interested in lacquerware, fueling the rise of the "Chinoiserie" trend. Under the influence of this trend, European craftsmen not only collected Chinese lacquerware but also drew inspiration from it, developing new techniques such as "Vernis Martin" and "Japanning". These innovations integrated the aesthetic essence of lacquerware into European art, revitalising lacquer craftsmanship and enriching the history of cultural exchange.