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Lai Kao-Shan (1924-2004), born in Taichung, Taiwan, was a lacquer artist and painter. He dedicated himself to promoting the art of lacquer and oil painting, primarily using the technique of "thousand-layered lacquering (千層堆漆)." He was involved in founding the Central Taiwan Fine Arts Association and the Southeast Painting Association.
Life edit
Lai Kao-Shan was born in Taichung in 1924. In 1937, he enrolled into the lacquerwork division at the Private Taichung Craft School (私立臺中工藝專修學校). Upon graduating in 1940, he was recommended by the school principal, Yamanaka Tadasu (山中公), to study in Japan at the Tokyo School of Fine Arts (today Tokyo University of the Arts). There, he studied under the Japanese Maki-e (gold on lacquer; 蒔繪) artist Kōmo Tōzan (河面冬山), as well as the oil painter Wada Sanzo (和田三造). He returned to Taiwan in 1946 and opened the Kousan Craft (光山行) Lacquerware Factory in front of the old Fengzhong Theater on Chenggong Road in Taichung City. Lai produced Penglai lacquerware, carving and vermillion lacquer, and multi-layered lacquering ornaments, as well as developed his unique technique of thousand-layered lacquering without a body (千層堆漆無胎瓶). The distinctive thousand-layer lacquered products gained popularity in the Japanese export market. However, with the rapid development of the petrochemical industry in the 1980s, the market of traditional crafts declined, and Kousan Craft was also under the impact and eventually dissolved.[1][2]
In addition to lacquer art, Lai Kao-Shan also engaged in oil painting and actively promoted Taiwanese art and cultivated artistic talents. In 1954, he co-founded the Central Taiwan Fine Arts Association (中部美術協會) with artists from Taichung including Lin Chi-Chu (林之助), Yen Shui-Long (顏水龍), Yang Chi-Tung (楊啓東), and Lu Fo-Ting (呂佛庭) and served as the director and general secretary. In 1973, along with Chang Ping-Nan (張炳南), Chang His-Chin (張錫卿), and Chang Yao-Shi (張耀熙), he co-founded the Southeast Painting Association (東南美術會). In 2001, he transformed his own private residence into the Taiwan Lacquer Culture Museum (臺灣漆文化博物館) to promote lacquer art and culture. Lai Kao-Shan passed away on October 27, 2004, due to a cerebral aneurysm.[1]
Artistic Style edit
Lai Kao-Shan’s early works primarily adopted the style of Penglai lacquerware and often depicted themes related to Taiwan's local culture and agricultural produce, such as indigenous images, tropical fruits, and landscapes. In the middle period, he employed the technique of carving and vermillion lacquer to create multi-layered ornaments with unique patterns and colors resembling gemstones. His works often incorporate geometric elements influenced by Western oil painting, which were also evident in his lacquerware and lacquer paintings.[3][2]
1975-1980 Carved Lacquer Round Box, National Taiwan Craft Research and Development Institute collection.[4] Multi-layered Lacquerware (Kousan Craft Lacquerware).
1990 Harvest Pestle Song, National Taiwan Craft Research and Development Institute collection. Lacquerware using the Yakumo-nuri (八雲塗) technique to paint on the stacked-up base, a process involving multiple steps of painting, lacquering, grinding and polishing.[5]
1991 Shades of Mountain, National Taiwan Craft Research and Development Institute collection. Lacquerware with dry lacquer, shell attachment, and the Kawari-nuri (變塗) technique.[6]
2002 Rose, Shung Ye Museum of Formosan Aborigines Collection. Oil Painting.[7]
Legacy edit
Lai Kao-Shan dedicated his life to preserving and promoting the art of lacquer. His children, Lai Tzouh-Ming (賴作明) and Lai Ying-Hua (賴映華), as well as his grandson, Lai Chin-Yu (賴進佑), have all been involved in lacquer art. In 2016, the third generation, Lai Hsin-Yu (賴信佑), revived the Kousan Craft, primarily focusing on daily lacquerware that combines traditional lacquer art with contemporary elements, bringing lacquer art back into the everyday life. The Taiwan Lacquer Culture Museum that Lai Kao-Shan established was later renamed as Lai Kao-Shan Art Memorial Hall (賴高山藝術紀念館) to showcase the life history of Lai Kao-shan and Taiwan's lacquer culture.[1][2][8]
References edit
- ^ a b c 江順堯 (2010). 重建臺灣藝術史-山中公傳人對臺灣漆藝發展影響研究暨展覽計畫. 國立臺灣工藝研究發展中心.
- ^ a b c "關於光山行". 光山行 Kousancraft. Archived from the original on 2023-05-25. Retrieved 2023-07-18.
- ^ "賴高山". 非池中藝術網. Archived from the original on 2023-05-03. Retrieved 2023-07-18.
- ^ "國立臺灣工藝研究發展中心-典藏網-藏品資料". collections.culture.tw. Archived from the original on 2023-07-18. Retrieved 2023-07-18.
- ^ "國立臺灣工藝研究發展中心-典藏網-藏品資料". collections.culture.tw. Archived from the original on 2023-07-18. Retrieved 2023-07-18.
- ^ "國立臺灣工藝研究發展中心-典藏網-藏品資料". collections.culture.tw. Archived from the original on 2023-07-18. Retrieved 2023-07-18.
- ^ 賴高山. "文化部-典藏網". collections.culture.tw (in Chinese (Taiwan)). Archived from the original on 2023-07-18. Retrieved 2023-07-18.
- ^ "文化部 iCulture-文化空間 賴高山藝術紀念館". cloud.culture.tw. Archived from the original on 2023-05-06. Retrieved 2023-07-18.