Fujian Bodiless Lacquer Ware

Famous for many crafts, Fujian is world renowned for its skilled assortment of bodiless lacquer ware. Bodiless lacquer ware is considered one of the “three treasures of traditional Chinese handicrafts” along with Jingdezhen’s porcelain and Beijing’s cloisonné.

Bodiless lacquer ware involves creating an ornament with lacquer rather than using a base such as wood or ceramics. Clay, wood or plastic is used as a mould for the design. Raw lacquer is then used as an adhesive to add layers of material such as silk or grass cloth. The newly created body is removed from the mould. The ornament is then polished, lacquered and can also be painted. Bodiless lacquer ware is light, durable and resistant to moisture, corrosion, alkaline and fading. Teapots are mainly constructed today from this form of lacquer work.

Fujian bodiless lacquer ware was created in the Qing Dynasty (1644-1912) by Shen Shao’an. Already a skilled craftsman in lacquer ware, Shen Shao’an used an assortment of varnishes to coat a clay model. Once dry, he put the varnished model in water which dissolved the clay leaving the first piece of bodiless lacquer ware. Fujian bodiless lacquer ware is commonly referred to as “Shen’s bodiless lacquer ware” in Fujian.

A famous piece of bodiless lacquer ware created by Shen Shao’an was a tea cup in the shape of a chrysanthemum flower petal which is now in the Imperial Palace Museum. The cup was as thin as paper and is admired by many as an exquisite piece of Chinese art.

This form of lacquer ware was often given to royalty, government officials and foreign guests and regarded as a prestigious craftsmanship. Fujian bodiless lacquer ware was also highly favoured overseas as many ornaments were sent through the Silk Road to Europe.

Fujian bodiless lacquer ware has been very successful within as well as out of China. In 1898, the Commodity Exhibition in Paris acknowledged the work of Shen Shao’an and awarded his skills with a gold medal. Between 1898 and 1912, Fujian bodiless lacquer ware received much attention and accolades from overseas exhibitions. The Empress Dowager Ci Xi also approved highly of Fujian bodiless lacquer ware and had many pieces made for both the Summer Palace and Forbidden City. Many different colours were experimented with during the 1920’s including gold, silver, azure, verdant and bronze.

Due to its durability and light frame, Fujian bodiless lacquer ware is known worldwide as a traditional Chinese folk art and is seen as an attractive art work for anyone interested in Chinese arts and crafts.