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The Past and Present of China’s National Treasure: Mother-of-Pearl Inlay Art
Mother-of-pearl inlay (luodiàn) has long been regarded as a luxury item.
“Mother-of-pearl inlay” refers to the decorative technique of using thin slices of shells and seashells, inlaid onto surfaces such as lacquer or wood, to create intricate designs. It is one of China’s traditional decorative arts. According to the Cihai dictionary, the character “钿” (diàn) means “inlay decoration.” For example, inlaying with gold or silver is called “gold inlay,” while jewelry shaped like flowers and made with gold, jade, and gems is called “flower inlay.”
01 Three Thousand Years of Glorious History
The origins of mother-of-pearl inlay date back over 3,000 years. Lacquerware inlaid with shell patterns has been unearthed from Western Zhou dynasty tombs. Some of the most refined examples of mother-of-pearl inlay include the lacquer-backed bronze mirrors from Tang dynasty tombs and the octagonal mother-of-pearl and tortoiseshell box and the mother-of-pearl rosewood lute preserved in the Shosoin Repository in Nara, Japan.
During the Tang dynasty, mother-of-pearl inlay reached unprecedented heights of brilliance, particularly in the form of lacquer-backed bronze mirrors, which became treasures of the era. These mirrors, often hailed as “the most beautiful bronze mirrors in China,” were crafted by carving shells into intricate patterns, adhering them to the back of plain mirrors, applying lacquer, polishing, and finally engraving delicate designs onto the inlay.
In the Song dynasty, mother-of-pearl inlay became more widespread. The technique of thin-shell inlay (also known as soft-shell inlay), as recorded in Xiushilu (Records of Lacquer Decoration), is believed to have emerged during this period and gradually became mainstream. Meanwhile, thick-shell inlay (or hard-shell inlay) continued to be used, particularly in the decoration of large furniture, where it developed a unique style.
“Pearls and gems adorn the box, while the glazed jar holds fragrant tea. Brewed in a hare’s fur cup, it brings a rosy-cheeked beauty to a tipsy dreamland.”
— Emperor Huizong of the Song dynasty
During the Yuan and Ming dynasties, the variety of shells used in mother-of-pearl inlay expanded, and the craftsmanship became more refined. Techniques such as colored lacquer, gold tracing, gold foil, gold and silver inlay, and “sand” (sprinkled shell fragments) were developed to create dazzling, multicolored effects. As Xiushilu noted, “Countless patterns, dots, strokes, and lines should be as fine and detailed as a painting.” By the 17th century, mother-of-pearl inlay had reached its peak, with major production centers in places like Ji’an, Jiangxi, and renowned artisans such as Jiang Qianli and Fang Xinchuan.
In the Qing dynasty, thin-shell inlay became even more delicate and intricate. The materials used for inlay also diversified, including not only lacquer and wood but also jade, ivory, and metal. By the mid-Qing period, mother-of-pearl inlay was often combined with other precious materials like gemstones, jade, and ivory in the “hundred treasures inlay” technique, making standalone mother-of-pearl pieces rarer. Production centers were likely concentrated in Yangzhou and Guangzhou, with notable artisans such as Wang Guoshen, Lu Yingzhi, and Lu Kuisheng.
“Mother-of-pearl inlay glows like emerald, while the autumn air carries the fragrance of Wuzhou. Its form and spirit are truly harmonious, and even in dreams, its beauty lingers.”— Qing dynasty poet Liu Yingbin, “Mother-of-Pearl Inlay Glows Like Emerald”
02 The Perfect Fusion of Craftsmanship and Aesthetics
The complexity of the craft and the extravagance of its materials were such that even Emperor Gaozong of the Southern Song dynasty deemed it too luxurious and once banned its use.
According to Jianyan Yilai Xinian Yaolu (Chronological Records Since the Jianyan Era): “In the early Shaoxing period, Xu Kangguo, the grain transport official of Zhejiang, presented a mother-of-pearl inlaid chair and table to the emperor. His Majesty ordered them to be burned, and the people praised his virtue. … The emperor pointed to his throne and said, ‘A simple black lacquer chair would suffice. Why use mother-of-pearl?'”
The selection of materials is precious, and the process is extremely complex and meticulous.
First, high-quality wood such as nanmu or camphor wood is chosen for its lightness and resistance to cracking. The wood must be dried for one to two years to prevent warping before being crafted into boxes, trays, tables, or other objects.
Thick-shell inlay is achieved through grinding, while thin-shell inlay requires boiling shells for four days and nights, then peeling and separating the layers with tweezers. The thin slices are soaked in white vinegar or radish juice to soften them, hence the name “soft-shell inlay.” In contrast, thick-shell inlay is called “hard-shell inlay.”
Applying the shell pieces to the lacquer base is another intricate and laborious process. After inlaying, needles or knives are used to carve finer details, such as facial features, beards, clothing patterns, or the cracks in rocks. Finally, multiple layers of lacquer are applied, dried, and polished repeatedly until the radiant design emerges.
From afar, the inlay shimmers like brocade; up close, its details are as fine as a hair’s breadth.
03 Beauty and Wealth
For a long time, mother-of-pearl inlay was a symbol of luxury. During the Wei, Jin, and Northern and Southern dynasties, the aristocracy’s obsession with extravagance greatly spurred the development of inlay art. The History of the Northern Dynasties by Li Yanshou records that Empress Dowager Wei once gifted a monk a “seven-treasure folding chair.”
What are the “seven treasures”? According to the Lotus Sutra, they are gold, silver, lapis lazuli, conch shell, agate, pearl, and rose quartz. The conch shell refers to a type of large seashell.
In the Southern Song dynasty, Zhou Mi’s Guixin Miscellaneous Records describes an official presenting ten mother-of-pearl inlaid table screens to the powerful chancellor Jia Sidao. Each screen depicted a proud moment from Jia’s life, and he was so delighted that he displayed them at every grand banquet.
During the Ming and Qing dynasties, mother-of-pearl inlay was widely used in furniture, screens, boxes, and other objects, becoming a luxury item for the nobility and the imperial court, showcasing exceptional artistic value and aesthetic appeal.
As times changed, mother-of-pearl inlay faced challenges ininherit and development. However, thanks to the efforts of numerous artisans and enthusiasts, this ancient craft has not only survived but also found new vitality.
On one hand, the craft has been effectively preserved and passed down through master-apprentice relationships. On the other hand, it has evolved by integrating modern design concepts and aesthetic trends, creating artworks that appeal to contemporary tastes.
These pieces not only retain the unique charm of traditional mother-of-pearl inlay but also incorporate modern design elements, showcasing a perfect fusion of tradition and modernity. May more precious crafts be discovered and revitalized in the future, blending with modern technology and design to breathe new life into ancient traditions.
