Chinese and Japanese Carved Lacquer (Tsuishu / Tihong): History, Techniques, and Key Characteristics Explained

Tsuishu and Tihong refer to an advanced East Asian lacquer technique in which dozens—or even hundreds—of layers of lacquer are applied and then carved to reveal intricate patterns. “Tsuishu” is the Japanese term, while “Tihong” is the Chinese name for the same carved red lacquer technique. Chinese carved lacquer from the Ming and Qing dynasties is especially prized, and the technique strongly influenced Japanese lacquer artists from the Muromachi to Edo periods.

This article explains the history of Chinese and Japanese carved lacquer, their stylistic differences, and how to identify a high-quality piece.

1. What Is Tsuishu / Tihong? – The Pinnacle of Carved Lacquer Art

Tsuishu (堆朱) and Tihong (剔紅) are created by applying dozens to hundreds of layers of red lacquer to build up significant thickness, then carving patterns directly into the hardened surface.

Characteristics

• Deep, dimensional carving
• Strong contrast created by lacquer gloss and carved shadows
• A time-consuming process requiring an extraordinary level of craftsmanship

Because thick lacquer cannot be applied all at once—doing so causes cracking—the layers must be built up slowly, requiring tremendous labor. This is why carved lacquer has long been regarded as a luxury art form, produced historically for imperial courts and wealthy patrons.

Black carved lacquer is called Tsuikoku (堆黒), while yellow carved lacquer is known as Tsuiou (堆黄).

2. Chinese Tihong – The Origin and Golden Age of Carved Lacquer

China developed carved lacquer into a sophisticated art form. The most highly valued works date from the following dynasties:

① Yuan Dynasty (1271–1368)

• Full development of carved lacquer
• Bold, powerful motifs with a slightly rustic style
• Deep, dramatic carving

② Ming Dynasty (1368–1644) – The Golden Age

• Masterpieces produced especially in the Yongle and Xuande periods
• Refined, balanced carving with beautiful flowing lines
• Motifs: dragons, phoenixes, peonies, cloud scrolls, auspicious designs
• Forms: food boxes, bowls, trays, incense boxes, writing boxes, etc.

→ These periods are widely considered the pinnacle of Chinese carved lacquer.

③ Qing Dynasty (1644–1912)

• Increased precision; shallower but extremely uniform carving
• High-quality works produced in imperial workshops (Zaobanchu)
• More ornate and decorative motifs

Characteristics of Chinese Carved Lacquer

• Very thick lacquer layers
• Deep, sculptural carving
• Smooth, even lines
• Rich, saturated red with depth

3. Japanese Tsuishu – Transmission and Local Development

The technique arrived in Japan during the Muromachi to Momoyama periods (14th–16th centuries). Chinese carved lacquer—known as karamono—was highly prized, and Japanese lacquer artists studied and adapted the technique.

① Muromachi–Momoyama Period

• Large quantities of Ming carved lacquer imported
• Favored by temples, aristocrats, and the warrior class

② Edo Period (17th–19th centuries): Emergence of Japanese Tsuishu

Japan’s skilled artisans developed a distinctly Japanese carved lacquer style.

Characteristics of Japanese Tsuishu

• Shallower, more delicate carving than Chinese works
• Japanese motifs: flowers, birds, fans, flowing water
• Slightly lighter red tones
• Refined, gentle overall design

Regions such as Kamakura, Wajima, and Kagawa developed carved-lacquer traditions. However, true tsuishu—carving built-up lacquer layers—was produced only by a limited number of craftsmen. Kamakura-bori, although visually similar, is carved wood coated with lacquer and is considered a different technique.

4. Differences Between Chinese Tihong and Japanese Tsuishu

	Chinese Tihong	Japanese Tsuishu
Lacquer Thickness	Very thick and heavy	Relatively thin
Carving Depth	Deep and powerful	Shallow and delicate
Motifs	Peonies, dragons, phoenixes, auspicious designs	Flowers, birds, fans, nature motifs
Overall Impression	Luxurious, sculptural	Graceful, refined
Typical Use	Imperial and elite commissions	Tea ceremony, literary culture

5. What Defines a High-Quality Carved Lacquer Piece?

The value of carved lacquer is determined by the precision of the technique—carving skill, motif structure, lacquer quality, and the balance of the overall form.

Carving Lines: Fine works have continuous, uniform lines with crisp tension. Yuan pieces are bold, Ming Yongle/Xuande works emphasize elegant line quality, and Qing imperial pieces feature shallow yet exceptionally precise lines.

Motif Accuracy and Composition: Period characteristics can be seen in motifs such as peonies and cloud scrolls. Imperial workshop pieces show flawless layout and proportion. High-grade red lacquer has a clear, calm, translucent glow.

Shape and Craftsmanship: Well-fitted lids, clean edges, and balanced proportions indicate a superior piece.

Ultimately, carved lacquer cannot be judged by “depth” or “color” alone—evaluating carving, motifs, lacquer quality, and overall form is essential.

6. Conclusion – A Fusion of Craftsmanship and Beauty

Carved lacquer is one of the highest achievements in East Asian lacquer arts and remains highly valued worldwide.

• Chinese Tihong: luxurious, sculptural, imperial aesthetics
• Japanese Tsuishu: elegant, delicate, refined through tea culture
• Evaluation points: lacquer thickness, carving quality, beauty of lines, period characteristics

Understanding these elements enhances your appreciation of carved lacquer. We invite you to discover authentic tsuishu and tihong at Uni-art Gallery.