Page 53 - Scholarly Works of Art Hong Kong Sothebys March 3 2019

Compassion in Lacquer: An Artistic and
Technical Marvel by Lu Kuisheng

Dr Hajni Elias

The present lacquer figure of the bodhisattva Guanyin is an the Yangtze river in Jiangsu province. Historically, Yangzhou
artistic and technical marvel of the late Qing period (1644- became one of the most affluent commercial towns and a
1911). It bears the signature of master carver Lu Kuisheng leading, vibrant cultural centre from the time of the Ming
(1779-1850), one of China’s most distinguished and dynasty. It was the home of many great merchant families,
prominent craftsmen, whose name is well documented. The famous artists and accomplished and eccentric scholars. Its
figure’s religious, artistic and technical importance in China’s reputation as a place for a leisurely life and refined tastes
artistic tradition is significant and warrants our attention. was well established by the time Lu’s forefathers settled
down and opened their lacquer workshop in the city. Lu’s
Popularly known as Guanyin or Avalokiteśvara in Sanskrit, grandfather, Lu Yingzhi (fl. ca. 1717), made his name as a
we are looking at one of the most favoured deities in the
Buddhist world. Recorded as the bodhisattva protagonist renowned lacquer artisan. He is recorded to have excelled in
in the chapter titled ‘Perceiver of the World’s Sounds making utensils of all shapes and his carvings were praised
for their fineness. The Hualin xinyong, compiled by the
(Guanshiyin Pusa)’ in the Lotus Sutra (Miao Fa Lianhua Jing), eminent critique Chen Wenshu (1771-1843), mentions the
Guanyin is described by Buddha as the one who perceives
the sounds and voices of all those suffering and is the one Lu family as one of Yangzhou’s most prominent producers
who compassionately provides release and deliverance from of lacquerware and in particular commends Lu Kuisheng as
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one whose work was of exceedingly high quality. We are
their trials. In the sutra Buddha says, ‘Suppose there are told that he not only inherited his grandfather’s technical and
immeasurable hundreds, thousands, ten thousands, millions
of living beings who are undergoing various trials and artistic skills, but elevated lacquerware production to new
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suffering. If they hear of this bodhisattva, Perceiver of the heights. He perfected the sand-lacquer or qisha technique,
an effect comparable to the Japanese makie, which was
World’s Sounds, and single-mindedly call his name, then at revived by his grandfather having been lost since the Song
once he will perceive the sound of their voices and they will
all gain deliverance from their trials.’ 1 dynasty (960-1279), but become even more remarkable
in Lu’s hands. Apart from carving in various media, Lu
Lu Kuisheng’s Guanyin sits in a pose of tranquil ease, known was also a talented painter, as evident from a landscape
as the rājalīlāsana or the ‘royal relaxed pose’. In this asana scroll painted by him in 1808, now in the collection of the
or seat, the right hand rests on the raised right knee while Nanjing Museum. His painterly skills are reflected in his
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the left leg is in the usual position of Buddha and the left compositions, especially on his ink-slab boxes, many of
hand gently placed on the base. Although the pose appears which bear his signature. Carvings made for the scholar’s
relaxed, the figure’s upright torso belies this and reveals a studio reflect Lu’s own interest in learning and scholarly
strength and ease of posture which expresses the complete pursuits. He was also highly esteemed by the Qing poet and
tranquility of spiritual peace and perfection. The facial scholar Yuan Mei (1716-1797), who mentions him being well
expression is one of calm serenity and compassion, with versed in antiquity and one who enjoyed moving in scholarly
eyes that are slightly lowered as if perceiving an inner reality circles. 5
that is beyond ordinary vision. Guanyin, who came to be An understanding of the process used to make the present
represented as an androgynous or female being, is shown figure enhances our appreciation. Firstly, although a number
here with a graceful feminine body and long, slender fingers
and toes. Wearing a headdress over her hair, she is covered of works have been attributed to Lu Kuisheng (see below),
in a silk-like garment that drapes down in a fluid cascade it is important to note that sculptures bearing his signature
are extremely rare. Wang Shixiang and Yuan Quanyou in
around her seat. She is adorned with a single necklace and their study of Lu Kuisheng mention that figure carvings by
arm bracelets. Except for the hair which was painted with 6
azurite, the entire figure was originally pasted with gold foil, him represent his unique artistry. Made of wood covered
traces of which remain visible in the folds of her clothes. in multiple thin layers of cinnabar lacquer, it has an air
of extreme delicacy while being solid at the same time.
Lu’s visual representation of Guanyin is notable for its Lacquer fluid was derived from the sap of the Rhus verliciflua
feminine beauty and etherial appeal. He represents her as
the embodiment of compassion and as such the sculpture is tree, a relative of the poison oak plant, primarily found in
a votive masterpiece. southern China. Working with the lacquer sap is extremely
laborious and time consuming. It can also be hazardous to
Before turning to the technical details of the making of one’s health as the liquid fluid and its vapours can cause
the present figure, let us say a few words about its maker, dermatitis and respiratory problems. The material’s toxicity
Lu Kuisheng. Lu was born into a family of master lacquer was an occupational hazard for lacquer workers throughout
craftsmen in Yangzhou, a city situated on the north bank of history and remains so to this day. A further occupational

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