Les laques rouges sculptées

The term “lacquer” derives from the Medieval Latin “lacca,” which in turn comes from the Persian or Hindi word “lakh.” In Asia, lacquer is extracted from the sap of Rhus verniciflua, a tree native to China and Japan that grows in the wild. Its preparation is a meticulous process: filtered, purified, and heated, it is concentrated into urushiol (lacquer acid), which gives it its protective and waterproofing properties. It can then be used in its transparent form or colored with pigments, notably cinnabar for red, the iconic color of Chinese carved lacquerware. It requires a long drying time, high humidity (approximately 75% to 80%), and a temperature between 25°C and 30°C, hardening gradually through complex polymerization processes.

Lacquer is applied in successive thin layers to various substrates (wood, fabric, metal). Generally, objects are coated with 30 to 35 layers of lacquer, but for the most exceptional pieces, up to 200 layers may be applied. Once built up to a sufficient thickness, it can be carved to create relief designs. This technique, known as diaoqi (雕漆), first appeared in China during the Tang Dynasty (618–907), gradually developed during the Song Dynasty (907–1279), and reached its peak during the Yuan (1279–1368) and Ming (1368–1644) dynasties.

Lacquerware from the Yuan and Ming dynasties is distinguished by exceptional technical mastery and decorative richness. During the Ming dynasty (1368–1644), particularly in the 15th century, this art form reached its golden age: the designs became more complex, densely packed, and deeply carved, featuring narrative scenes, detailed landscapes, or imperial motifs such as dragons and phoenixes. The precision of the relief, the fineness of the details, and the intensity of the red, achieved through the use of cinnabar, lend these works a sumptuous character, reflecting the luxury and prestige of the imperial court. During the Qing Dynasty (1644–1912), Emperor Qianlong (1735–1796), a great patron of the arts, revived the production of exceptional pieces, particularly in the form of cabinets and large furniture.

As luxury items, these carved lacquerware pieces were intended for the imperial court or given as diplomatic gifts. Their lengthy and demanding production process means they remain precious works of art to this day, reflecting exceptional craftsmanship and a millennia-old artistic tradition.

Upcoming Auction
Asian Art
Tuesday, June 9, 2026, at 2:30 p.m.

For more information or to submit a lot for our upcoming sales, please contact
Department Director
Clémentine Guyot
+33 1 47 45 00 90 - guyot@aguttes.com