Craft

Length:12.2 x Width:9.2 x Height:0.6 (cm)

Accession Number：20170300188

Chen Huo-Ching (1914-2001, Taichung) was a master of lacquer art in Taiwan. After graduating from Chingshui Public School, he apprenticed at the Yamaka Lacquerware Studio in Taichung, where he trained in traditional lacquer techniques. Upon completing his studies, he remained at the studio as an artisan and later taught part-time at the Taichung Craft Training Institute, which eventually became a specialized craft school. Following World War II, Chen worked for the Air Force, where he was responsible for aircraft painting. After leaving this position due to health issues and personal loss, he devoted himself fully to lacquerware creation at home. In the 1960s, a peak period for Taiwan’s lacquerware exports to Japan, Chen served as a technical consultant to lacquerware companies and founded his own firm to fulfill Japanese commissions. From 1984 onward, he contributed extensively to the education and promotion of lacquer art, serving as an instructor at the Taiwan Provincial Handicraft Research Institute and the National Palace Museum. His contributions to the industry were highly influential, and in 1998, he was recognized by the Ministry of Education as a Master of Important Folk Art.
This panel depicts two turtles positioned one behind the other. The design was based on an original pattern brought from Japan by Yamaka Sensei. Chen Huo-Ching executed this piece using the takamakie technique, which he had learned from Yamaka Sensei. The production process for this work is highly intricate and time-consuming. First, the wooden panel was coated with black lacquer to create a base layer. The design was then transferred onto the surface using tracing paper, followed by a dusting of silver powder to make the outlines clearly visible. Red lacquer was then applied over the design, and when the lacquer reached a semi-dry state, additional silver powder was sprinkled onto the surface. This step, which involved applying red lacquer and sprinkling silver powder, was repeated as needed to achieve varying levels of relief, giving the design a three-dimensional texture. The central sections of the turtles’ shells are the most prominently raised, achieved through the greatest number of lacquer applications. This strong sense of depth and relief enhances the vivid and lifelike quality of the composition.