Jingzhou is renowned as the birthplace of Chu culture, and to truly explore the romance and splendor of this culture, one simply cannot overlook the unique and artistic charm of Chu lacquerware. The region has unearthed over 15,000 pieces of lacquerware, accounting for approximately 60% of the total in China. In the 7,000-year history of lacquer making in China, Chu lacquerware represents the first peak in this art form’s evolution.
In 2011, the “Chu-style lacquerware coating technique” was added to the national intangible cultural heritage list. Now, more than 3,000 years later, how does Chu lacquerware, rich in cultural significance, continue to shine? With this question in mind, we visited the Jingzhou Intangible Cultural Heritage Inheritance Workshop to meet Zou Chuan-zhi, the fourth-generation inheritor of the Chu-style lacquerware coating technique.
Walking through Zou’s workshop feels like navigating through a historical scroll of Chu lacquerware. He explained the term “coating” to us: “Chu-style lacquerware typically uses camphor wood and nanmu as the base, with black lacquer as the foundation, adorned with colors like red, yellow, and gold. The coating process is the most time-consuming part of making lacquerware and tests the artisan’s patience. To achieve a high-quality product, we apply lacquer sixty to seventy times. This gives the piece a glossy finish and makes it less prone to chipping, and it shines even more with frequent handling.” As he spoke, he guided us into his workspace.
The workbench was filled with semi-finished products and an array of jars containing age-old lacquer colors, while ear cups and face patterns, in their wooden base state, lay nearby—almost identical to the Chu artifacts we had seen at the Jingzhou Museum. Zou explained that crafting lacquerware from wood to the vibrant finished product often involves cooperation among multiple artisans, taking several months to complete.
Artisans face numerous challenges when initially working with lacquer, often suffering from allergic reactions. In a glass-walled studio, several of Zou’s students were focused on painting creative cultural products with fine brushes, bringing life through red and black contrasts. Others carefully selected chisels of various sizes and meticulously carved designs into the wood base. Their hands bore scars earned from perfecting their carving techniques.
The legacy of intangible cultural heritage is not just the transmission of traditional skills but also the spirit of craftsmanship that pursues excellence. Most of Zou’s students come from partnerships between schools and businesses, and their work reflects high-quality pieces like lacquer-painted pig-shaped wine boxes and floral-patterned lotus cover bowls representative of Chu craftsmanship. This success can be attributed to the establishment of the Jingchu Intangible Cultural Heritage Skills Inheritance Institute, supported by the Yangtze River Arts Engineering Vocational College, which features a display hall for Chu-style lacquerware and production workshops, while also inviting national masters for heritage transmission and product development. “We recruit students from vocational schools, who undergo three years of training here, after which they must work in the studio for a year,” Zou explained. Currently, about thirteen students are involved in crafting Chu lacquerware at the studio.
In the workshop, we also spotted exquisite cultural products like Coca-Cola skirt-shaped commemorative bottles made using lacquer techniques. While similar in form to the iconic Chu pieces like the tiger and phoenix drum, their colors are much brighter and more vibrant. Zou explained, “The traditional items only constitute 40% of our product range, while the remaining 60% are innovative creations like these.”
The opportunity for innovation arrived in 2015. Zou began working with his father at the Jingzhou Museum, replicating unearthed lacquerware when he was around 20. In 2007, he founded a company specializing in producing arts and gifts from Chu lacquerware, initially focusing primarily on reproducing traditional designs. However, when recommended to attend an advanced training program for intangible cultural heritage inheritors at the Central Academy of Fine Arts, he realized that heritage was not simply about preservation but also about innovation. “Sticking to old methods would lead to losing the market. We must align with contemporary lifestyles.”
Carefully, Zou presented a tea set inspired by Wang Xizhi’s “Lantingji Xu,” revealing its deep red and black hues. The simplified wave patterns on the cover and the three small ear cups resting atop evoke the poetic spirit of wine and tea aesthetics. The walls of the set feature designs based on traditional artwork depicting a scholar’s travel, elegantly marrying the aesthetics of Chu lacquerware with modern minimalist sensibilities. In November 2021, this “Chu lacquer: Qu Shui Liu Shang Tea Set” was recognized as one of Hubei’s top creative gifts.
“To preserve Chu lacquerware, we must progress with the times and connect it with current lifestyles and aesthetic values. We’ve blended traditional techniques with modern designs, creating tea sets, writing tools, and accessories, and combining lacquer arts with ceramics and metals,” Zou stated, showcasing a tea tray adorned with a phoenix design. The celestial bird, depicted in dynamic colors, breathes life into the artwork, enhanced further by the addition of gold flakes to the lacquer. “This tea set has received widespread acclaim in various exhibitions.”
Zou’s wife, Li Qin, showcased beautiful lotus necklaces and brooches, where radiant lacquer flows over silver and mother-of-pearl, adding an element of Chinese romance to the otherwise simple jewelry. She shared that visitors and students at the workshop can also engage in the trending lacquer fan projects. “We hope to draw people into traditional lacquer arts and the world of Chu lacquerware.”
Now, Zou’s workshop features a variety of playful animated figurines crafted from 3D-printed molds, then colored with vibrant lacquer that resists fading. This fresh take is attributed to Zou’s son.
“My son suggested we appeal to younger audiences with a wider array of colors,” Li said. Since they began producing these figurines last year, they’ve received over a thousand orders, primarily from younger customers aged thirteen to thirty. “It’s crucial to strengthen innovation in intangible heritage, letting more people discover and appreciate our Chu lacquerware, ensuring it adapts to modernity while maintaining its timeless essence,” Zou expressed his aspirations.
