Introduction: Lacquer as Cultural Heritage

The art of lacquer, derived from the sap of the Toxicodendron vernicifluum tree, is one of the world’s oldest craft traditions. With archaeological traces dating back over 7,000 years (Liu & Chen 2012), lacquer is more than a material: it is part of humanity’s intangible heritage, preserved through generations of artisans across East Asia.

Despite its long history, the preparation of lacquer remains a living practice, deeply tied to ecology, chemistry, and community life. Understanding how lacquer is extracted, prepared, and transmitted helps us recognize why UNESCO and other organizations highlight it as a vital component of cultural heritage and traditional craftsmanship.

The Heritage of Extraction: Knowledge Rooted in Nature

Everything begins with the heritage tree of lacquer, Toxicodendron vernicifluum. Mature trees, aged 8–10 years, yield the sap known as urushiol, the foundation of lacquer art. Farmers make shallow incisions—shaped like a “thrush’s eye”—to collect the sap without harming the tree (Lin & Liu 2020).

The tapping process itself is a form of intangible cultural knowledge, passed down orally within rural communities. Weather, humidity, and seasonal rhythms determine success: cloudy days yield higher-quality lacquer, while dry heat threatens both tree and product. This ecological sensitivity is part of what makes lacquer production a practice of heritage craftsmanship rather than industrial process.

Village Economies and Intangible Heritage Transmission

In lacquer-producing regions of China, Japan, and Korea, the tree is not only an economic resource but a heritage symbol. Families or communities cultivate small plantations, treating the trees as part of a cultural commons (Jin 2011). Harvesting skills, along with ritual respect for the trees, are transmitted within families—illustrating how intangible heritage is embedded in everyday life and ecology.

By sustaining plantations near valleys or hillsides, villagers balance production with ecological stewardship. This sustainable management reflects centuries of traditional knowledge, proving that cultural heritage can also preserve biodiversity and local ecosystems.

Preparation: Chemistry Meets Heritage Craft

Raw lacquer cannot be applied directly. It must be filtered, matured, and stirred under controlled humidity to begin the chemical transformation of urushiol catechols (Shirai 2013). Fine clays, pigments, or metallic powders are added, linking the craft to aesthetics and symbolism (Shan 2019).

The curing process is unique: lacquer hardens not in dry air, but in warm and humid chambers (25–30 °C, 75–85% humidity). As Koizumi (1987) notes, “humidity activates the enzymatic oxidation of urushiol, forming insoluble and extremely resistant polymeric chains.” This scientific foundation is itself part of the intangible heritage of artisans, who long understood empirically what chemistry later confirmed.

Layering and Artistic Innovation

Each layer of lacquer is applied in thin coats, cured, and polished. Some objects require thirty or more layers, often enriched with gold or silver powders (maki-e in Japan: Murai 2002). In China, workshops in Jiangsu, Fujian and Beijing expanded lacquer into complex hybrid forms: carved surfaces, mother-of-pearl inlays, mineral pigments (Clunas 1997; Vainker 2018).

These innovations show how intangible heritage evolves, blending inherited knowledge with creative experimentation.

The Basic Technique of Application

The essence of lacquer art lies in the repeated application and polishing of layers. Refined raw lacquer is applied in extremely thin coats over a base—typically wood, leather, textile, or metal. After each coat, the object must be placed in a warm and humid environment (approximately 25–30°C, 75–85% humidity) to allow natural polymerization before it can be polished and another layer applied. This process may be repeated dozens of times, resulting in an object with the characteristic depth, sheen, and resilience of traditional lacquerware (Koizumi 1987). As Chinese scholars note, “lacquer is not dried by air but cured through a living process of humidity and time, which makes the material both fragile to produce and durable to preserve” (Shan 2019: 92).

Beijing Lacquer: The Tradition of Carved Lacquer

Beijing lacquer (Beijing qiqi 北京漆器) is most renowned for the technique of carved lacquer (tihong 剔红). This involves applying extremely thick accumulations of red lacquer—sometimes hundreds of layers, reaching several millimeters in depth—before artisans carve directly into the hardened mass to reveal intricate relief designs. As Lin Shuzhong remarks, “the uniqueness of Beijing carved lacquer lies in the monumental patience of layering, for only after years of accumulation can the knife reveal mountains, flowers, and figures from the depth of color itself” (Lin 2008: 34). This technique emphasizes solidity, monumentality, and three-dimensional artistry, distinguishing Beijing lacquer as a sculptural rather than a purely decorative craft.

Yangzhou Lacquer: Refinement and Inlay

By contrast, Yangzhou lacquer (Yangzhou qiqi 扬州漆器) is famed for its lighter, more ornamental techniques, especially mother-of-pearl inlay (luodian 螺钿) and surface gilding. These methods prioritize pictorial expression, often depicting naturalistic or poetic scenes with subtle contrasts of color and shimmering nacre. As a study by the Nanjing University of the Arts explains, “Yangzhou lacquer is less about accumulation and carving, and more about surface imagery, creating paintings in lacquer with shell, gold, and brush” (Zhou & Chen 2012: 77). This decorative approach reflects the Jiangnan region’s aesthetic tradition of elegance and literati taste, contrasting with the bold monumentality of Beijing lacquer.

Heritage and Intangible Cultural Value

Both Beijing and Yangzhou lacquer are today recognized as part of China’s intangible cultural heritage. Yet their differences reflect not only technical choices but also regional cultural identities. Beijing’s carved lacquer emphasizes labor, monumentality, and imperial aesthetics, while Yangzhou’s refined inlay embodies literati values of elegance and poetic subtlety. Together, they demonstrate how one material—natural lacquer—has been adapted into diverse heritage crafts that continue to shape cultural identity across centuries.

UNESCO and the Safeguarding of Intangible Heritage

Because lacquer combines ecological knowledge, chemical expertise, and artistic refinement, it has been recognized under the framework of the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (UNESCO 2003).

As Jin (2011) observes: “The lacquerer’s practice requires ecological awareness, empirical chemical understanding, and refined aesthetics that surpass simple craftsmanship.” This definition illustrates why lacquer is more than craft—it is a living intangible heritage of humanity.

Conclusion: Lacquer as a Global Heritage of Sustainability

The preparation of lacquer is a prime example of intangible heritage: a tradition deeply rooted in nature, transmitted through families and communities, and continually reinterpreted in art and design.

In an age of synthetic alternatives, lacquer’s cultural heritage value is not only in its beauty but in its sustainable model of craftsmanship. From prehistoric Hemudu finds (Zhang 2007) to luxury industries today (Vainker 2018), lacquer endures as one of the world’s most refined examples of heritage knowledge and intangible craftsmanship.

By protecting and celebrating lacquer, we safeguard not just a material, but an entire worldview where ecology, heritage, and artistry meet.

References

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Koizumi, S. (1987). The Chemistry of Oriental Lacquer. Tokyo: Kodansha.
Lin, Y., & Liu, H. (2020). “Innovative Application of the Research on Material Properties of Chinese Lacquer in the Design of Pile Lacquer Implement.” Journal of Physics: Conference Series, 1646(1).
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Murai, N. (2002). Maki-e: Japanese lacquer decoration. Kyoto: Shibunkaku.
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Shan, J. (2019). “Pigments and additives in traditional lacquer.” Chinese Journal of Cultural Heritage Studies, 7(1), 88–106.
Zhou, Y. & Chen, L. (周芸, 陈丽) (2012). “The Decorative Techniques of Yangzhou Lacquerware” (扬州漆器装饰工艺研究). Journal of Nanjing University of the Arts (Fine Arts & Design), 4, 72–80.
Shan, J. (2019). “Pigments and additives in traditional lacquer.” Chinese Journal of Cultural Heritage Studies, 7(1), 88–106.
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UNESCO (2003). Convention for the Safeguarding of the Intangible Cultural Heritage. Paris: UNESCO.
Vainker, S. (2018). Chinese Lacquer: Techniques and Global Circulation. London: British Museum Press.
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