Urushi (Japanese) or Qi (pronounced chi 漆 Chinese), or lacquer, has a long history in China, with its use dating back thousands of years. The lacquer technique was first developed in China, before being adopted by other cultures like Japan and Korea. Here's a brief history of urushi in China:

Origins (Neolithic Period, around 7,000 years ago)

The earliest known evidence of lacquerware in China dates back to the Hemudu culture in the Neolithic period (around 5,000 BCE). Archaeologists have found lacquered wooden bowls and artifacts in Hemudu, suggesting that the Chinese had mastered the technique of using natural sap from the lacquer tree (Toxicodendron vernicifluum) to coat objects.

Zhou and Han Dynasties (1046 BCE – 220 CE)

During the Zhou Dynasty (1046–256 BCE), lacquer became more widespread, used in ceremonial and daily life items. Lacquered objects, particularly vessels and furniture, began to showcase intricate designs. By the Han Dynasty (206 BCE–220 CE), the use of lacquer expanded even further, with the production of ornate lacquerware reaching its peak.

Lacquer was highly valued not only for its beauty but also for its functional properties. It provided a durable, water-resistant, and glossy surface, ideal for preserving wooden, bamboo, and metal objects.

Tang Dynasty (618–907 CE)

During the Tang Dynasty, Chinese lacquerwork reached new levels of sophistication and artistry. The production techniques became more refined, and lacquered objects were often inlaid with precious materials like gold, silver, and mother-of-pearl. Lacquerware from this period was exported along the Silk Road, influencing other cultures, including Japan, where urushi techniques would evolve.

Song and Ming Dynasties (960–1644 CE)

The Song Dynasty saw the development of more complex decorative techniques, including "carved lacquer" (tihong), where multiple layers of lacquer were applied and carved to create intricate patterns. By the Ming Dynasty (1368–1644), lacquer production had become an imperial art form. Lacquered furniture, screens, and decorative items were produced in large quantities for the court.

This period also saw the rise of qiangjin (engraving and filling), miaojin (gold-inlaid), and dahuang (large yellow lacquer) techniques. Ming lacquerware is known for its richness in color and texture, often featuring red and black lacquer with gold accents.

Qing Dynasty (1644–1912 CE)

Lacquerware continued to flourish during the Qing Dynasty, with many imperial workshops producing highly detailed lacquered items, including furniture, boxes, and decorative panels. The Peking lacquer technique, where lacquer is applied in multiple layers and then intricately carved, became particularly popular.

The Qing Dynasty also saw the rise of foreign interest in Chinese lacquerware, especially from European traders. Chinese lacquerware was highly sought after, often traded as luxury items.

Influence on Japan and Modern Times

Though urushi techniques spread from China to Japan around the 7th century, Japan developed its own unique style and artistic methods, making "urushi" more commonly associated with Japanese lacquerware today. However, China's role in the origin and development of lacquer art is foundational.

In modern times, Chinese urushi and lacquer techniques are still practiced, though often on a smaller, more artisanal scale. Lacquered items remain a significant part of China’s cultural heritage, reflecting the craftsmanship of the ancient world.

The history of urushi in China is one of both innovation and tradition. From humble beginnings in the Neolithic period to its peak in the Ming and Qing dynasties, Chinese lacquerwork has remained a testament to the country's deep cultural and artistic legacy.