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Lacquerware has been one of the representative cultures reflecting the unique regional character of East Asia. It is believed that oriental lacquerware was originated from an adhesive for bonding and fixing production tools. As China is the origin of the oriental lacquerware handicraft, it has made considerable progress over thousands of years from a single form to Chaehui, Jeonchil, inlaid work, Jochil, Myogeum, Changgeum, lacquer painting, mother-of-pearl, etc.
Such lacquerware, which has developed continuously for thousands of years, is one of the important elements of traditional Chinese culture and influenced on lacquerware of Southeastern Asia where Korea, Japan, and China are connected with one continent. As Chinese lacquerware spread to various parts of East Asia through a variety of processes, each region has formed its own characteristics in terms of models, patterns, and technical developments depending on factors such as local preferences, commercial reasons, and ecological environment. In addition, the movement of the propagation(‚÷²¥) accompanied the interchange between the surrounding areas along with the movement from the periphery to the center, not the one-sided propagation from the central area to the surrounding area.
Through these interactions, lacquerware handicraft was spread from China, which is its origin, to various parts of East Asia and achieved each unique development. Korea, Japan, and other East Asian countries accepted the Chinese art of lacquer with subjectivity and lacquerware inlaid with mother-of-pearl of Korea and Macie of Japan developed into each country¡¯s own figurative feature. Conversely, they has also influenced China. In Southeast Asia, however, it can be seen that the basic method of making lacquerware using bamboo was influenced by the lacquerware-making process in southwestern China.