Coromandel screen Side 2

The Coromandel lacquer technique emerged from China in the 16th century, following the traditional technique of polychrome carving called kuancai or cut out and coloured lacquer. The designs are carved out of a smooth lacquer surface, revealing the neutral ground coating which is then coloured with oil or lacquer pigments.

This monumental six-fold, twelve-panel lacquered screen is illustrated with birthday banquet scenes with landscapes and pavilions on both sides. The central scene is surrounded by border patterns consisting of a thin inner, thick middle and thin outer borders. These panels are painted in various oil pigments of blue, green, red, rose, light blue and white on black background. The splendid colour and dense composition are characteristics of the Qing kuancai lacquer technique of the Kangxi reign (1662–1722). The panels are attached to each other with iron pins and loop hinges. This type of large screen was used in the entrance hall, as a room divider, or as a windscreen in the garden or terrace.

On the screen, one side of the central scene depicts a court lady enjoying the various performances in the pavilion amidst many evolving activities. The dragon's path on the centre stairs typically symbolises the power of the emperor or of other dignitaries in the Qing period. The middle border was decorated with ancient Chinese objects and floral motifs, and framed by two thin borders of phoenixes and lotuses respectively. On the reverse side, the central scene depicts an official receiving good wishes from his guests. The middle border was also decorated with ancient Chinese objects and mythological beasts, and is in turn surrounded by two thin borders of lotuses and meander motifs. This screen bears the signature of the craftsman 'Yanshan Zhu kan' (carved by Zhu of Yanshan) located on the third panel, a unique practice not seen in any other known kuancai pieces. There are also commemorative inscriptions on the end panels, of which the original date was changed to Qianlong (1736–1795), as a result of a birthday present being “recycled” in the later reign.

Coromandel lacquer was named after an important trading post on the southeastern coast of India. It was a vital midway between Europe and the Far East during the maritime trade dating back to the 16th century. During the Ming golden era lacquerware production was liberalised, and no longer only produced for local use but also export. Its main production centres were along the coastal provinces of Fujian, Zhejiang, Jiangsu and Anhui. Portugal was the first country to import Chinese lacquerware, along with porcelain and silks, into Europe.

The Chinese had already used lacquer techniques as early as the Neolithic period (c.10000–2000 BCE), and had since mastered different decoration techniques ranging from monochrome carved lacquerware pieces to more elaborate pieces decorated with inlays of mother-of-pearl, ivory, coral or precious stones. At the time the lacquer industry was supported mainly by the court and fell under direct supervision of the emperor, whose imperial workshops were set up in Sichuan and Henan provinces. The more important dated pieces were made during the Kangxi and Qianlong reigns. Lacquerware came in many forms and shapes including screens, furniture, chests, boxes, dishes and fan sticks.