“Zhe’nan Beacon of War” by Li Wei, a wooden-based lacquer ware

Lacquer ware is a kind of daily utensil and handicraft made by painting natural lacquer on the surface of various objects. It is the“box” in the Chinese idiom “to buy the box and return the pearl”, the “tray” in the idiom “to hold the tray in front of one’s spouse with both hands”, and the “wine cup” in the idiom “floating wine cups along the curved stream”.

From May 13 to 15 this year, Zhejiang Provincial People’s Government led a delegation to Europe for a cultural exchange. Highlighting the region’s rich intangible cultural heritages (ICHs), Wenzhou’s illustrious crafts such as color stone inlaying, Pingyang lacquer ware, and intricate fine-lined paper cutting were displayed in France and Hungary. Among these esteemed artisans, Li Wei, the sole invited inheritor of the prestigious Pingyang lacquer ware artistry, captivated foreign audiences with his exquisite lacquer fans and bookmarks, showcasing the alluring beauty and unique charm of oriental aesthetics.

The global showcase of lacquer ware has once again drawn the world’s attention to Wenzhou, renowned as the “cradle of artisan crafts.” What enables Wenzhou lacquer ware to embody the essence of China’s national ICHs and traverse international borders? And how can this cherished tradition continue to thrive and evolve in the modern era?

Integration into Daily Life Aesthetics

Modern Lacquer Art Enjoys Wide Popularity

“The response was overwhelmingly enthusiastic, and the exhibition of lacquer art, one of Wenzhou’s ICHs, in Europe captivated everyone.” Li Wei was moved while speaking of it.

At the Oriental Aesthetics Exhibition in Hungary, a captivating hands-on workshop on crafting lacquer bookmarks stole the show, together with a stunning display of lacquer ware utensils, 24 solar terms-themed bookmarks, and jewelry inspired by daily aesthetics. The vivid hues and intricate designs of these pieces captivated all who beheld them, from international students to Hungarian locals alike. Despite the language barrier, the 200 bookmarks brought by Li Wei were eagerly claimed by enthusiasts, selling out in no time. Locals proudly took to social media to express their admiration for the exquisite Wenzhou lacquer ware.

During the special exhibition of Song dynasty (960–1279 CE) paintings in France, Li Wei introduced floating lacquer techniques to local consulates, promoting the slogan of “Everyone is an Artist”. Guided by Li Wei, participants watched as vivid lacquer paints collided on the water’s surface, creating natural patterns through techniques like dotting, flicking, and swiping. As the paper fans were dipped, the lacquer adhered gracefully to their surfaces, following the movement of the water. This “free style” approach left foreign friends, who had eagerly awaited their turn to become “artists,” in awe.

Li Wei, the fourth-generation inheritor of Pingyang lacquer ware, boasts a familial legacy spanning over a century in the craft. The China Pingyang Lacquer Ware Art Gallery situated in Qingjie Town, Pingyang County, has been designated as a provincial-level ICH protection base.

“Crafting a piece of lacquer ware from inception to completion takes a considerable two to three months, demanding lengthy production time and thus being costly. Historically, it was a prized possession reserved for officials and aristocrats, and even today, it remains a specialized art form.” Li Wei informed the reporter that, through his years of experience in lacquer art, he has been exploring innovative methods to make lacquer ware more affordable and integrate it into people’s daily lives.

The floating lacquer technique showcased overseas is an innovative attempt to bring lacquer art “into the homes of ordinary people.”

“The skill of floating lacquer perfectly embodies the concept of everyone is an artist,” said Jin Dun, the director of the Wenzhou ICH Center. At the Zhejiang Provincial Introduction Meeting held in Shanghai earlier this year, the Wenzhou’s ICH experiences, represented by lacquer fan made with floating techniques, “won over” many overseas guests.

Participants can choose their favorite colors, complete their work in just 5 seconds, and each lacquer fan is unique, offering the thrill of “opening a blind box.” The combination of these attributes makes the technique of floating lacquer an art form that appeals to both the refined and the popular. Moreover, lacquer ware aligns well with the Song dynasty’s culture that Zhejiang is promoting nowadays, making it no surprise that it can “paint” a colorful world.

Tracing the Past to the Present

Wenzhou Lacquer ware: Once the Undisputed Arts and Crafts of the World

Lacquer ware is a quintessential embodiment of ancient Chinese craftsmen’s mastery in chemical techniques and artisanal traditions, originating from the Neolithic Age over 8,000 years ago. Following the refinement of lacquer artistry during the Han dynasty (206 BCE–220 CE) and the Tang dynasty (618–907 CE), the hub of lacquer ware production migrated south to Wenzhou and Hangzhou during the Song dynasty, marking a golden era for Wenzhou lacquer ware.

In the Song dynasty, most lacquer wares produced in Wenzhou were inscribed with the inscriptions “Wenzhou” and “Shanglao,” where “Shanglao” meant superior durability. This was a unique anti-counterfeiting mark for Wenzhou lacquer wares, truly deserving of the title “made in Wenzhou.”

“The lacquer ware of Wenzhou in the Song dynasty was the best in the country, a fact recognized by the industry,” said Wu Xianjun, a researcher at the Wenzhou Archaeological Research Institute who specializes in lacquer ware. Among the lacquer wares produced across the country during the Song dynasty, only lacquer ware shops in Wenzhou dared to use the place name “Wenzhou” as their brand. “Just like Jingdezhen’s ceramics, Wenzhou lacquer ware has become a regional brand, indicating that it was recognized high-quality product at that time.”

Archaeological excavations at the ancient port site of Shuomen in Wenzhou have uncovered more than a dozen relatively intact lacquerware pieces, including petal-shaped lacquer boxes, dishes, and saucer stands, proving that lacquerware was one of the main export commodities of Wenzhou in the Song dynasty.

It’s noteworthy that a red lacquer bowl excavated from the ancient Shuomen port site bears the inscription “Gengxu Wenzhou Tu Qishu Shanglao.” Intriguingly, this inscription aligns with the marking “Renwu Wenzhou Tu Jia Shanglao” found on an unadorned black lacquer dish once collected by King Gustaf VI of Sweden. “The inscriptions exhibit similar brushwork and both belong to the Tu family of Wenzhou, thus suggesting that these lacquer ware pieces were crafted by the same workshop at different times,” remarked Wu Xianjun.

The historical documents of Dongjing Menghua Lu, Mengliang Lu, and Ducheng Jisheng testify to the prosperous production and sales of Wenzhou lacquer ware during the Song dynasty. During the Song and Yuan dynasties (960–1368 CE), Wenzhou lacquer ware garnered significant overseas demand and was exported abroad. In Records of the Customs and Manners of Zhenla by Zhou Daguan, a Wenzhou native from the Yuan dynasty, it is documented that Wenzhou lacquer ware and other “Tang goods” enjoyed immense popularity among the people of Zhenla, now Cambodia.

“Wenzhou is not rich in lacquer trees, but its lacquer ware is renowned worldwide,” Wu Xianjun analyzed. The main reasons behind this can be summarized in three points: millennium trading port, hometown of craftsmen, and capital of culture.

On one hand, during the Song dynasty, China’s economic center shifted south, and Wenzhou, relatively stable, saw social and economic prosperity, developed commercial trade, and indulgent customs, which had a profound impact on the development of Wenzhou as a “millennium trading port.”

On the other hand, as the “hometown of craftsmen,” Wenzhou boasts a well-developed handicraft industry in porcelain making, shipbuilding, silk weaving, and other areas. These industries interact with lacquer ware, complementing each other’s strengths, and attracting skilled craftsmen from all over.

With a flourishing culture and vibrant literary atmosphere, the pragmatic and utilitarian philosophy of the Yongjia School further spurred the quest for excellence and the maximization of returns through human endeavor. Therefore, it is unsurprising that Wenzhou, despite being traditionally deemed “unsuitable for lacquer production,” has still achieved a comprehensive range of exquisite lacquer ware products.

Living Inheritance

Embracing the Past: ICHs as Modern Products

As the saying goes, “People polish lacquer, and lacquer polishes people.” The production of lacquer ware requires extreme patience and perseverance.

Li Zixuan, Li Wei’s daughter, is the fifth-generation inheritor of this lacquer art family. After graduating from university, she began to follow in her father’s footsteps. In a speech, she shared that she had repeatedly polished a detail until her hands were worn out; she had also experienced heartbreak when an entire piece was discarded due to a minor mistake; and due to the allergenicity of raw lacquer, her skin itched day and night, preventing her from sleeping... But her confidence in native culture has kept her going.

This journey to France and Hungary for the “Lacquer Color” exhibition also strengthened Li Wei and his family’s commitment to their inheritance path.

Wenzhou is a city rich in ICHs. Currently, the city has four items on the UNESCO’s list of ICHs, including Yongjia kunqu opera, Yueqing fine-grained paper cutting, Rui’an wooden movable type printing, and Taishun timber beam arch bridge techniques. There are also 35 nationally representative ICH projects, 159 provincially representative projects, and 779 municipally representative projects.

In the Wenzhou ICH Center’s conference room, a wide range of lifestyle products showcasing ICH elements is displayed. From lacquer art brooches and earrings to multi-colored inlaid stone paintings, from Ou embroidery fruit platters to table lamps and handbags made of Indigo dyed cloth, even Bluetooth speakers adorned with Ou embroidery — all these products blend classic elegance with modern fashion.

When Ou embroidery meets Baoxiniao Clothing, the blend of traditional embroidery and sturdy western suits sparks fresh creativity. As blue-dyed prints meet the Apple Store, posters and fences adorned with ICH attract more youth. At the Xinjiang-backed ICH exhibition, Wenzhou’s colored stone inlays showcase butterflies flitting over Yangtze’s southern apple trees. With “intangible cultural heritage +”, Wenzhou’s ICH integrates concepts like creativity, performances, tourism, experiences, technology, and prosperity. Once confined to display cases, these skills are now weaving into people’s daily lives.

“Wenzhou’s ICH protection and development topped the province again in 2023, marking a sixth consecutive year,” Jin Dun revealed. Unlike museum pieces, ICH focuses on hands-on experience, a living, breathing culture. Wenzhou’s inheritors strive to blend aesthetics, making ICHs visible in daily lives. It’s not just for collecting; it’s also a product for everyone.

In recent years, Wenzhou has steadily promoted the national pilot project of “ICH in communities” and created new brands for the dissemination, such as “Hundreds of ICH Shops” and “One Show of ICH”.

From preserving and inheriting to pioneering innovative ICH, urban custodians of ICHs set the trend in fashionable life aesthetics, while rural custodians guide the path to rural revitalization and shared prosperity. Wenzhou’s ICH is poised to bloom with creativity.