「One object per period」Zhong Sheng: Mindful Negative Space — Imperfection Equals Wholeness

From the giant transparent overlay displays at the Daming Palace Ruins, to conservation interventions at the Western Xia Imperial Tombs, and the aesthetic of negative-space infill in ceramic restoration, cultural heritage conservation no longer fixates on fabricating the illusion of an intact original state. Laozi once stated, “The greatest perfection seems flawed.” Nothing in the world holds absolute flawlessness, and imperfect objects carry far deeper layers of significance instead. Zhong Sheng, a master lacquer artisan, fully grasps this philosophy. He weaves this Eastern wisdom into handcrafted vessels, using raw lacquer as his medium to restore and reimagine broken wares.

The Chinese character Xiu denotes both the craft of coating objects with lacquer and an archaic term for raw lacquer. Building upon traditional lacquer craft, he developed an innovative restoration technique for broken porcelain shards. Rather than erasing cracks entirely, he lets mellow lacquer flow naturally along fractured edges, balancing structural stability with aesthetic articulation while preserving the crackled texture of fractured porcelain. His core concept of “embracing fractures and coexistence of old and new” renders the demarcation of original porcelain distinctly visible, as new forms organically emerge within layers of lacquer. This aligns perfectly with the core Eastern design tenet of interdependent void and substance.

The beauty of imperfection invites contemplation and humility, a calm acceptance stripped of superficial ostentation. It rejects obsession with permanence, rigid wholeness, and absolute perfection. Only by mindfully crafting negative space can one perceive the true realm of integral completeness.

That’s all for today’s art – appreciation session. Next time, we’ll make a new pot of tea and continue exploring the world of art together.

By Mr.Shan