The Irving Collection represents a wide range of styles and techniques from the 13th through the twentieth centuries.

Production, Distribution and Appreciation: New Aspects of East Asian Lacquer Ware, edited by Patricia Frick and Annette Kieser, focuses on various aspects of East Asian lacquer art ranging from the 2nd century BC to the 17th century. Recent excavations in China, the distribution of lacquer objects throughout the Eurasian region, the significance of lacquer ware in everyday life, technical aspects of lacquer production in Korea, and the appreciation of Japanese lacquer in Asia and Europe are analysed in six chapters by international experts in the field: Patricia Frick; Annette Kieser; Nanhee Lee; Yan Liu; Margarete Prüch and Anton Schweizer. Production, Distribution and Appreciation: New Aspects of East Asian Lacquer Ware is published in association with the European Association for Asian Art and Archaeology.

Presents a wide range of exceptional Chinese lacquerware representing a broad time span and multiple techniques. The lacquers range in date from the later Han dynasty (1st-2nd century CE) to the late Ming dynasty (1368-1644). The collection is also rich in uniquely Yuan dynasty lacquerware, which is noted for its austere and refined appearance.

Published on the occasion of an exhibition at the J. Paul Getty Museum focusing on the conservation of the Victoria and Albert Museum's Mazarin Chest, from March 3 to May 24, 2009, this is the first English translation of Jesuit Filippo Bonanni's eighteenth-century treatise, considered the most important and comprehensive early study of Chinese lacquer in Europe. Bonanni relates various authors' attempts to understand and analyze the composition of the newly imported Chinese lacquer. He lists a variety of recipes of the time as well as their effectiveness--including various European recipes developed as an affordable alternative to the Chinese import--and offers what he considers the most reliable recipe, as well as his own appraisal of the best uses and applications of the lacquer. An invaluable primary source for scholars and conservators.

This reference tool covers the technology and methods of treatment for both types of lacquer and assesses current practices. It describes production technology and decorative techniques and discusses the materials used in Asian lacquer.

Dating back several thousand years, the art of lacquer is one of the most ancient expressions of Asian culture, and this publication provides an overview of the different kinds of methods and materials used in Cambodia, China, India, Korea, Japan, Myanmar, Thailand and Vietnam. The number of people employed in this ancestral art has fallen dramatically throughout Asia in recent decades, and this book considers the challenges to its survival as well as highlighting the importance of documenting past and modern procedures.

The Irving Collection represents a wide range of styles and techniques from the 13th through the twentieth centuries.

The international workshop on conservation of East Asian cabinets in imperial residences (1700–1900) marked the starting point for the FWF-funded research project on the East Asian cabinets in Schönbrunn palace. The workshop facilitated the exchange of knowledge and experience between international conservators, art historians and related experts in the fields of Asian and European lacquerware and porcelain.

An insightful look at how East Asian notions of space transformed Western painting. This volume offers the first critical account of how European imports of East Asian textiles, porcelain, and lacquers, along with newly published descriptions of the Chinese garden, inspired a revolution in the role of painting in early modern Europe. With particular focus on French interiors, Isabelle Tillerot reveals how a European enthusiasm for East Asian culture and a demand for novelty transformed the dynamic between painting and decor. Models of space, landscape, and horizon, as shown in Chinese and Japanese objects and their ornamentation, disrupted prevailing design concepts in Europe. With paintings no longer functioning as pictorial windows, they began to be viewed as discrete images displayed on a wall—and with that, their status changed from decorative device to autonomous work of art. This study presents a detailed history of this transformation, revealing how an aesthetic free from the constraints of symmetry and geometrized order upended paradigms of display, enabling European painting to come into its own.