Custodian of Huizhou’s Lacquer Art Traditions

Gan Erke was born into an ordinary family in Tunxi District of Huangshan City. After graduating from junior middle school, he began his study of carpentry, painting and carving. Among his first jobs was fashioning wooden formers for a local lumber mill.

A subsequent decade spent as a carpenter afforded Gan a solid foundation in design and carving. In 1979, the 24-year-old Gan was admitted to the Tunxi Lacquerware Arts and Crafts Factory, where he studied as an apprentice to old masters. With his painting background and natural talent, he quickly made a name for himself in carving and was sent to Shanghai to study lacquer art the following year.

After finishing his studies in Shanghai, Gan Erke returned home and was promoted to director of the lacquer carving crafts workshop. He met and maintained close contact with Tunxi lacquerware artist Yu Jinhai, well known expert in the ancient lacquer techniques of the State of Chu of the Warring States Period (475-221 BC). Gan’s commitment to his art impressed Yu, who invested his time in teaching the young prodigy vital lacquer skills and techniques. The two worked together on many pieces.

In 1985 Gan was transferred to the Tunxi Arts and Crafts Institute and began studying more complicated lacquerware techniques. The creation of regular lacquerware involves applying lacquer finish over wood, leather or metal bodies. But at the Tunxi Institute Gan learned the more difficult process of making “bodiless” lacquerware – applying lacquer over clay or parget shells, which would then be removed to leave a work of pure lacquer.

At the institute, Gan widened his understanding of the craft through acquaintances with a variety of specialists representing many different lacquer traditions. He developed a masterly command of all stages of lacquer art creation, including design, carving and polishing.

China’s opening-up and reform gave birth to the country’s market economy. In the 1990s many former state employees quit government employment to try their luck in private businesses. Gan Erke was one such early free market convert, and for a decade eked out a living in the private sector. Recalling those heady days, Gan said: “After a decade in the private sector, I decided to return to my old job. I was afraid of losing my hard-earned artistic skills and hoped to revitalize the struggling Huizhou lacquerware tradition.”

Huizhou lacquerware is one variety of Chinese lacquerware, and boasts a 1,000-year history. It is perhaps most renowned for its lacquer inkslab tradition and pineapple lacquerware. The lacquer inkslab, used for grinding ink, is exquisite and sturdy. The best specimens, which resemble inkslabs made of polished stone, were historically used by noblemen and the literati. They were exceedingly rare and very valuable. Records suggest that the first lacquer inkslab was made for the royal court in the 12th century. The art later disappeared, but reemerged in the 18th century.

“Pineapple lacquer” is also known as “rhinoceros skin lacquer” owing to the speckled patterns on the finished surface. Like the lacquer inkslab, such lacquerware was highly valued and a treasured item of the imperial court and distinguished noblemen alike.

“Pineapple lacquer” is a mix of many types of colorful mineral powders. The final finish contains many colors, all of which are bright and contrast strikingly with one another.

Techniques used in the creation of “pineapple lacquer” were lost in the early 20th century. In 1978 Yu Jinhai set about revitalizing “pineapple” lacquer. With reference to historical records, he used the lacquer curing skills passed down from his ancestors to eventually succeed in not only fashioning “pineapple lacquer,” but also recreating the lacquer inkslab.

After Yu passed away, Gan Erke took up his teacher’s mantle. “Recreating these artworks is no easy task. But I’ve had 10 years as a carpenter, 10 years studying lacquer skills and 10 years in the business world. So perhaps in 10 years I’ll be able to produce grand works,” Gan said at the time.

Gan said one particularly challenging obstacle on his quest to reproduce the artworks was making the inside surface of the lacquerware smooth to the touch. The technique, common in ancient times, took much practice, but eventually he succeeded.

With that obstacle behind him, Gan started researching the specific techniques used in the creation of the two lacquer traditions. Much help came from studying Yu Jinhai’s works and his accumulated reference materials.

Today Gan has succeeded in continuing the two lacquerware traditions. He has even made some innovations of his own: inlaying gold, silver, calaite, coral and other precious metals to add an ethereal glow to the opaque lacquer. His work has breathed artistic life into the whole Huizhou lacquer tradition.

Gan’s studio is full of lacquerware: teapots, cups, even chairs. All are bright, glossy and refined. Gan maintains very high standards in his work, and says all his pieces are in accordance with the old standards for lacquerware set out by the royal court. For one, the lacquer coating has to be polished until the gloss is flawless.

“One piece of work takes at least eight or nine months, or even one to two years to finish. You’ve got to be committed,” Gan admitted. He went on to show us a silk box. One item inside caught our attention in particular: a black lacquer box with an inlaid golden flower. It was made with a lost technique, Gan revealed.

On seeing Gan’s work, Peter Y. K. Lam, curator of the Art Museum at the Chinese University of Hong Kong, was amazed. He remarked that what Gan has managed to do in his field represents a greater achievement even than that of Beijing’s Palace Museum.

Fang Xiaoyang, a professor at the Graduate School of the Chinese Academy of Sciences, is busy writing a book on inkslabs made from none-stone materials. One chapter focuses on the lacquer inkslab. Fang’s research for his book entailed touring many regions of China. He highly praises Gan Erke’s work, and documents his efforts.

Gan Erke now has seven students to carry on the reinvigorated lacquer techniques. They have learnt basic lacquer application skills and are coordinating with Gan Erke to produce joint works.

Nevertheless, Gan and his students are only capable of producing between 10 and 20 lacquerware works per year. Their workshop enjoys strong demand, and Gan’s order book is full to beyond 2015. There has been pressure from buyers to industrialize the production process, but Gan insists that handmaking is essential to ensure the authenticity and quality of his products. “A calm, pure mind is needed to produce the best lacquerware. The care a lacquer craftsman takes is reflected in his work. I hope all my pieces stand the test of time and continue to be appreciated.”

There are still many types of lacquerware in Huizhou awaiting revitalization, Gan says. “I hope that in the coming years I have the peace of mind to bring back these lost traditions, so that people can enjoy the beautiful art of our forefathers.”

Source: China Today