For thousands of years, the sap of the lacquer tree has been among the most precious materials of East Asia. It is used to coat, impregnate and colour wooden objects and ceramics, and produces surfaces of exceptional depth, lustre and durability.
The production of carved lacquer craft works became established during the Song Dynasty (960–1279) and developed into a highly complex technique of impressive precision. Dozens of paper-thin individual layers are applied and dried over weeks, then cut in precise incisions to create relief-like designs. Through layers of different colours tinted with mineral pigments, finely tuned contrasts and contours are produced. Characteristic is the luminous cinnabar red, which to this day is regarded as the epitome of Chinese carved lacquer, but outstanding artistic works were also created in black lacquer and mother-of-pearl inlay. The filigree decorations of carved lacquer mostly refer to myths and symbols of Daoism and Buddhism, as well as to the world of birds and flowers.
The special exhibition brings together around 60 important Chinese lacquer works from the 12th to the early 17th century from a private collection in Cologne, complemented by selected works from the museum's collection. Among the special highlights are the so far little-researched group of Yunnan lacquers of the Yuan Dynasty (1279–1368) as well as the elaborately made pieces for the imperial court of the Ming Dynasty (1368–1644).
With the kind support of Orientstiftung zur Förderung der Ostasiatischen Kunst Fördererkreis des Museums für Ostasiatische Kunst Köln