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Pedestal, possibly for a sculpture Ming dynasty (1368–1644) 16th century China Lacquer on wood inlaid with mother-of-pearlH. (23.5 cm

Tray with Decoration of Dragon and Chinese Characters Ming dynasty (1368–1644), Jiajing period (1522–66) ChinaCarved red lacquer Diam. 36.8 cm

Spring Morning in the Han Palace (Screen) Qing dynasty (1644–1911), Kangxi period (1662–1722)late 17th century China Black lacquer with mother-of-pearl and gold-foil inlay H. ( (286 x 752 cm)

Spring Morning in the Han Palace (Screen) Qing dynasty (1644–1911), Kangxi period (1662–1722)late 17th century China Black lacquer with mother-of-pearl and gold-foil inlay H. ( (286 x 752 cm)

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Tiered Box with Figural Scene, Flowers, and Birds Yuan (1271–1368)–early Ming (1368–1644) dynasty late 14th–early 15th century China Black lacquer with mother-of-pearl inlay H. (16.5 cm).jpg

Tiered Box with Figural Scene, Flowers, and Birds Yuan (1271–1368)–early Ming (1368–1644) dynasty late 14th–early 15th century China Black lacquer with mother-of-pearl inlay H. (16.5 cm).jpg

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Tray with Daoist Figures Ming dynasty (1368–1644) 16th century China Black lacquer with mother-of-pearl inlay; basketry sides H. (4.4 cm)

Tray with Figures in a Landscape Ming dynasty (1368–1644) 16th century China Black lacquer with mother-of-pearl inlay Diam. 27 cm.

Tray with Figures in a Landscape Yuan dynasty (1271–1368) 14th century China Black lacquer inlaid with mother-of-pearl Diam. (48.9 cm)

Tray with Rock, Pheasants, and Peonies Ming dynasty (1368–1644) second half of the 16th century China Carved red and yellow lacquer H. (5.4 cm); D. (25.7 cm

Tray with Flowering Plum and Birds-of-pearl inlay Ming dynasty (1368–1644)early 15th century China Black lacquer with mother-of-pearl inlay H. (4.4 cm); L. (61.9 cm)

This wonderful image of a flowering plum tree with two plump sparrows exemplifies the spectacular pictorial scenes that could be created by inlaying lacquer with mother-of-pearl of different shapes and colors. Long, narrow pieces of iridescent pearl shell form the clumps of rocks that sit before the trunk of the flowering plum, while mother-of-pearl of different shapes and sizes is used to depict the bamboo and the ancient tree, whose craggy trunk bears buds in various stages of bloom.

Small Box with Decoration of Peony Scrolls Joseon dynasty (1392–1910) 15th–16th century Korea Lacquer inlaid with mother-of-pearl H. (1.9 cm); L. (9.8 cm)

Stationery Box with Decoration of Peony Scrolls Joseon dynasty (1392–1910) 15th–16th century Korea Lacquer inlaid with mother-of-pearl L. 36.5 cm

Writing Box with Design of Plum Blossoms and Moon Muromachi period (1392–1573) 16th centuryJapan Colored lacquer with inlays of mother-of-pearl and silver H. (3.8 cm); L. (22.2 cm)

Lacquer, made from the resin of a family of trees (Rhus verniciflua) native to East Asia, is an amazing material. When tapped from the tree, it is white or light gray and has a consistency similar to that of molasses. When exposed to oxygen and humidity, lacquer polymerizes, or hardens, into a natural plastic that is resistant to water, certain acids, and heat, rendering it an ideal protective covering for objects made of wood and, occasionally, metal.

Produced largely in the south, lacquer has been used in China since at least the sixth century B.C. on serving vessels, boxes, and other containers. When mixed with pigments, particularly red (cinnabar) and black (carbon), lacquer is also used for painting. Historical records indicate that Chinese lacquer was imported into the area near present-day Samarkand as early as the twelfth century, and it is documented in Japanese collections as early as the fourteenth. Lacquers served as diplomatic gifts and luxurious trade goods, and they have been an integral part of the Japanese tea ceremony for centuries.

Organized in celebration of three spectacular gifts to the Museum, this small exhibition explores techniques and themes in Chinese lacquer from the thirteenth to the sixteenth century, a high point in the development of this uniquely Asian artistic tradition. Some works illustrate the carved-lacquer technique, in which multiple layers of lacquer—as many as two hundred—are incised deeply with lush geometric or figural patterns, or scenes of figures in landscapes. Other objects demonstrate related techniques whereby shallower incisions are inlaid with gold, pigment, or minute pieces of mother-of-pearl to create equally ornate surface decoration.

Lacquer ware shares the rich visual language found in ceramics, textiles, and paintings, including figural scenes based on Chinese literature and history; mythical creatures such as dragons and phoenixes; birds and other animals; and flowers and plants. Most of these motifs are imbued with meanings, usually auspicious, derived from longstanding cultural traditions. For example, the peony alludes to spring and denotes wealth, while the chrysanthemum symbolizes autumn and longevity. Both flowers frequently are grouped with others, generally lotus and plum, to define the four seasons. Other motifs, such as the Asian flycatcher (shoudainiao), a bird seen often in early carved lacquers, can serve as rebuses emblematic of good wishes. In this instance, shoudainiao can be a proxy for the notion of enduring generations, for the first character of its name, shou, is a homonym for longevity; the second, dai, for generations.

Sound: Peter Kater and Nawang Khechog - Fresh Wind

Text and pictures: Metropolitan MuseumCopyright: All the images belong to their authors

Arangement: Sanda Foişoreanuwww.slideshare.net/michaelasanda

Peter Kater and Nawang Khechog