National Museum's East Asian lacquerware exhibition showcases works from Korea, China, Japan

The exhibition, titled “Lacquerware of East Asia,” displays 46 objects from the collections of Korea, China and Japan's national museums.

A Korean lacquer comb box from the 18th to 19th century made with a mother-of-pearl inlay [NATIONAL MUSEUM OF KOREA]

The three neighboring East Asian nations of Korea, China and Japan may share commonalities but are so distinct. Art is no exception.

One effort in trying to understand the creativity of these nations includes the respective national museums partnering up to organize biennial joint exhibitions that encompass the three cultures. It’s a way of promoting an ongoing friendly alliance while setting aside political conflicts.

With each country’s museum — the National Museum of Korea, the Tokyo National Museum and the National Museum of China — taking turns as the host since 2014, there have been exhibitions on ceramics, paintings, tiger-themed art and bronze.

Now, it’s Korea’s turn, and the fifth edition is centered on lacquerware from the 14th to 19th century at the National Museum of Korea in Yongsan District, central Seoul. The exhibition, titled “Lacquerware of East Asia,” displays 46 objects from the collections of each museum, approximately 15 for each country, which can be largely divided into three distinct types according to technique: gluing, sprinkling and carving.

Lacquerware evolved in East Asia throughout history as the lacquer tree has origins in this area. The three nations produced different types of lacquer crafts due to different aesthetic standards and the quality of the saps.

A Chinese table with cloud design made with carved lacquer from the 14th to 17th century [NATIONAL MUSEUM OF CHINA]

Still, the three nations’ lacquerware is collectively durable, as it is resistant to moisture and pests. There’s an old saying that lacquer won’t go bad even after 1,000 years. It is why the craft is considered superior to other varnishes around the world.

“One thing in common is the deep and beautiful luster they have,” said Makoto Fujiwara, director general of the Tokyo National Museum, during a press conference for the exhibition at the National Museum of Korea last week. Fujiwara was present alongside Gao Zheng, the director general of the National Museum of China, and Kim Jae-hong, the newly appointed director general of the National Museum of Korea.

The exhibition starts with Chinese lacquerware, as it pioneered the craft, with the earliest lacquerware discovered 8,000 years ago during the Neolithic period. Carved lacquerware is what best represents the craft in China, a method in which red and black lacquer are layered numerous times before patterns are carved into them.

A Chinese container with landscape and figure design made with carved lacquer from circa 1735 to 1796 [NATIONAL MUSEUM OF CHINA]

The layers were purely red, and at other times, multicolored. The latter can be seen on a black table from the Ming Dynasty (1368-1644), which has carved cloud designs that reveal hints of red hues. A box-shaped container from the Qing Dynasty (1644-1912) that depicts landscapes, such as mountains, water and a garden, is entirely red.

Around the third century B.C., China spread its lacquerware and the craft’s technique to other countries including Korea and Japan.

Korea formed a deep history with lacquerware as well, which particularly flourished during the Goryeo Dynasty (918-1392) and the Joseon Dynasty (1392-1910). But unlike China, Korea developed a different type of lacquerware called najeon chilgi, which involved inlaying mother-of-pearl in crafts. The lacquerware style is celebrated for its smoothness and gloss, all while displaying a rainbow prism of colors that continuously change according to different angles.

A Korean two-tiered wardrobe with 10 longevity symbols made with red lacquer and mother-of-pearl inlay from the late 19th to early 20th century [NATIONAL MUSEUM OF KOREA]

Throughout the centuries, najeon chilgi has been incorporated into practical items like furniture. The quality and designs of najeon chilgi advanced even more in the 18th century. A two-tiered wardrobe from the late 19th to early 20th century, covered in red lacquer and patterned with 10 longevity symbols and natural landscapes, is a prime example of the luxurious lacquerware that belonged to yangban, or Joseon’s ruling class.

Most lacquerware at the time was a dark brownish color, and red was so rare that it was exclusive to the higher classes. The animal and nature engravings tended to be more intricate as well, showing yangban’s “indulgence in extravagance,” curator Oh Se-eun said.

Japan was known for maki-e, a type of lacquerware sprinkled with gold or silver powder that originated in the eighth century Nara period. They also adorned everyday objects like boxes, bookshelves, desks and bowls, which reflected the tastes of Japan’s upper class during the 18th century mid-Edo period.

A Japanese sutra box with lotus pond design, made with maki-e from the 15th century [TOKYO NATIONAL MUSEUM]

A significant portion on display at the museum had chrysanthemum designs, which symbolize longevity and good fortune.

Although all three nations had strikingly contrasting methods when it came to producing their lacquerware, there were active exchanges between them as well. China’s carved lacquerware later influenced Japan's, creating similar works. There are records of custom-made Japanese maki-e exported to European nations like Portugal and Spain. An icon case, a decorated container that kept and displayed religious icons, from the 16th to 17th century depicting Christ and the saints is one example.

A Japanese Christian icon case made with maki-e and mother-of-pearl inlay from the 16th to 17th century [TOKYO NATIONAL MUSEUM]

Despite their differences, lacquerware was particularly unique to Korea, Japan and China. “A single lacquerware piece is only completed through a prolonged time of perseverance,” director general Kim said. “It’s our shared goal that this cultural exchange will serve as an opportunity for us to appreciate each other’s culture and strengthen cooperation in the future.”

“Lacquerware of East Asia” continues until Sept. 22. The National Museum of Korea is open from 10 a.m. to 6 p.m. every day. Opening hours extend to 9 p.m. on Wednesdays and Saturdays. Tickets are 5,000 won ($3.60) for adults.

BY SHIN MIN-HEE [shin.minhee@joongang.co.kr]