Innovations techniques et diversification des commandes : l'artisanat du laque en Chine aux Ve-IVe siècles avant J.-C.

Abstract

Tomb No. 1 at Leigudun, Suizhou, in Hubei province, where more than two hundred lacquer pieces have been excavated, provides an excellent example of the existing techniques during the 5th century B.C.: lacquer could be applied on wood as well as on metal, leather and silk threads. But most of the pieces were carved in a single wood block or were composed of many carved wood blocks which were joined together with the tenon and mortise method. During the fourth century B.C., various lacquer techniques were created while the existing techniques improved considerably. More efficient tools allow wood to be cut in very thin sheets and to be curved. It becomes possible to make light cylindrical vessels or containers, which in some cases are strengthened with metal mounts. Another technique which is called jiazhu consists of making a core with cloth on which many layers of lacquer possibly mixed with charcoal or mud powder are applied. For chemical and physiological reasons, only a few pigments can be mixed with lacquer. As a result, lacquer objects are mostly decorated in black and red (cinnabar), and for some pieces in yellow and gold. But, during the 4th century B.C., the craftmen succeeded in using other pigments mixed with glue and lacquer. This fact is documented by a few luxurious pieces which apparently are not of pure funerary use. The archaeological material from the hundreds of tombs discovered in the area of the capital of Chu, near Jiangling, provides an excellent account of the Chu lacquer production until the beginning of the 3rd century B.C. It reveals that from the 4th century B.C. onwards, lacquerware became an exceptional decorative art which could in many cases compete with major arts like painting for example.