Page 401 - Bonhams Fine Chinese Art Nov 2013 London

CELEBRATING THE ‘NEW CHINA’: LACQUER OF THE
1960s-1970s FROM YANGZHOU
Yangzhou, at the meeting of the Grand Canal and the
Yangtze River, is the site of the ‘No.1 State Lacquer Factory’, readily adapted for use on some of the plaques, as it was
which is the source of these splendid lacquer panels. The
group of panels offered in this sale represents probably the
most remarkable and innovative group manufactured in
the 20th century. The larger panels offer the appearance
of grand Western-style oil paintings, but also deploy the
elaborate traditional carving techniques of Chinese lacquer
to add richness and variety of texture and depth. The
plaques are unashamedly political statements, stressing that
the highly controversial ‘New Society’ has transformed the
old, enriching the country and restoring China to its leading
place in the world.
The history of the plaques before 1997
Yangzhou has been the source of China’s finest lacquer for
at least 2000 years. Quite possibly the famous eared oval
cup was made here, whose inscription (with a date equating
to AD 4) mentions ‘the 13 supervisors responsible for its
manufacture’ (see N.Macgregor, History of the World in 100
Objects, London, 2010, chapter 34). It was therefore natural
for the Chinese Government to commission from Yangzhou,
during the twelve years after 1966, these fine monuments to
celebrate what the Government regarded as its recent past
and present achievements.
The wholesale re-organisation of the country during this
turbulent period ensured that the factory was glad of
the work. The finest artists working in the field (such as
Lu Xingtang, a pupil of Fu Baoshi) created the designs,
and senior masters such as Zhang Yu and Li Duanhua
supervised the production of the panels to the highest
standards. Cost, resources and time constraints did not
apply.
The plaques were commissioned for leading government
figures such as Lin Biao. Jiangdu Pumping Station was
ordered by the Beijing government and exhibited there
before touring nationwide. Others, like The Story of The
Red Lantern, took over 15 months to complete, and were
first displayed in Nanjing before going on public exhibition
in Beijing. Their subject matter was carefully attuned to
the wishes of Mao Zedong’s wife, and followed one of the
standard theatrical models of the day.
The subjects chosen were important to country’s leaders,
displaying the perceived achievements of the ‘New China’,
and in particular presenting an impression of the harmonious
working together of the Chinese peoples under the new
social order.
Key subjects were:
- technical and scientific achievements/water control and
management;
- giant infrastructure and civil engineering projects;
- social harmony of all the races of China;
- martyrs who built the ‘New China’ and its society;
- the primacy of ordinary people and their happiness with
China today;
- defending the borders of the ‘New China’; pride in its
natural beauties;
- famous moments commemorating the rise of the reborn
nation;
- Chairman Mao and popular loyalty/accord with his aims;
- praise for other Party leaders and famous associated
places.
Key nationally-approved images in prints and paintings were
important for all the arts to convey messages in tune with
one another. Other important features were social realism,
recognition of the importance of women’s efforts, and
that art existed solely to record the whole population’s co-
ordinated achievements.
After Mao’s death in 1976, and the ensuing massive political
and economic changes, much of the ‘Public Art’ of his later
years was destroyed. This was in the mistaken belief that
the achievements of these years had been a wrong turning.
On their return from exhibition, having served their prime
purpose, the lacquer was put into inadequate storage at the
back of the State Lacquer Factory. Probably it was natural
caution that encouraged the plaques’ storage rather than
destruction.
In the event the radical political changes of the 1980’s meant
they found no further use.
By 1997, under the direction of Senior Master Li Duanhua
(their original production supervisor, now in charge of national
lacquer quality control), many of the plaques were carefully
refreshed towards their original state.
THE SENIOR MASTER LI DUANHUA AS CREATOR
Senior Master Li Duanhua was born in 1942 and entered
the Yangzhou No.1. State Lacquer Factory in 1958 as an
apprentice to Senior Master Zhai Yong Shou. He specialised
in mother-of-pearl inlay. In 1965, at the remarkably early
age of 23, he was appointed to the position of Master
of Lacquerware after reaching a high technical standard
and despite having had no revolutionaries in his family
background.
After the start of the Cultural Revolution, the young masters
took control of production at the factory. Li Duanhua took on
the major task of ‘The Red Lantern set. He worked seven
days a week from dawn to dusk, and there was no electricity
for light. He recalls that period as one of being filled with
great spirit. There was no commercial pressure or time scale,
just a compelling desire to produce their finest work in the
name of the Revolution. Although often exhausted, he could
hardly wait to get back to work in the morning, singing Mao’s
songs on the way. He then worked on another plaque, The
Official Opening of the Yangzi River Bridge, as Senior Master
in charge.
Towards the end of 1972, after finishing the plaque The
Great Union of All the Races of China (lot 404 in this sale),
he was transferred to the No.2. Light Industry Bureau as
Revolutionary Movement Officer.
In 1978 he returned to the No.1 Factory as Vice-Director in
charge of technical production. In 1982 he was appointed
the Vice-Director of the Yangzhou Art and Craft Research
Institute. In 1985 he was appointed National Lacquerware
Quality Control Office for the whole of China, based at the
National Lacquerware Control Centre at Yangzhou. Over the
winter and spring of 1997-1998, Senior Master Li Duanhua
supervised the restoration of the Cultural Revolution plaques
in this collection, and he believes these plaques to be
amongst the finest lacquerware to have been produced.