Craftsman maintains and innovates intricate ancient packaging technique, reports Yang Feiyue.

During the Warring States Period (475-221 BC), a man from the State of Chu went to great lengths to make a jewelry box out of magnolia to sell a pearl.

He smoked the small receptacle with spices to give it a lasting fragrance and added exquisite ornamental pearls and jade. So effective were his embellishments that when he sold the boxed pearl, the customer returned the content and just kept the box.

The proverbial tale by Chinese philosopher Han Fei, who lived in the third century BC, has been open to many interpretations, one of the most popular being about bad choices and failure to recognize what's more important.

However, it shed light on the act of packaging valuables in beautifully crafted wooden boxes, a craft that appeared in ancient times.

With the vigorous development of textiles and paper manufacture during the Song Dynasty (960-1279), paper boxes came into being. They were favored by the literati for their simple yet beautiful and elegant characteristics.

This type of paper box is made of grass cardboard, with the outside being framed with Song brocade featuring gorgeous colors and a soft texture. The inside is lined with cotton to make a rich, soft pocket, which was originally used to carry fragile items, such as inkstones and ink ingots, and later thread-bound books.

The art form continued to flourish throughout the Ming (1368-1644) and Qing (1644-1911) dynasties, and manifested itself in various shapes and sizes, from jewelry boxes and cabinets, to royal goods and gifts given by dignitaries. The Qing court even brought together artisans in the trade to make such packages.

Today, in Hedong district, North China's Tianjin, Gao Fuhao has committed himself to carrying on this ancient craft, which was named a national intangible cultural heritage in 2021.

"In a narrow sense, the craft is about making a set of packages for cultural and playful items, which are commonly known as 'brocade boxes'," says Gao, adding that the main purpose is to protect the contents from bumps and prolonged exposure to the external environment.

"In a broad sense, it is beyond just the production of outer packaging and involves a certain level of cultural relics protection and repair, similar to the business of the workshops at the royal palace in ancient times," he says.

Boxing clever

The Tianjin native, who just turned 50, is a local inheritor of the craft. He was born into a family of collectors of cultural items and, as a result, has been predisposed to ancient relics since childhood.

"I was particularly attracted to the color and delicate structure of those boxes that hold the treasures," Gao recalls.

His interest grew as his appreciation for art developed and it led him to pursue a career making the historical packing boxes.

Having studied and explored the knowledge and skills of cultural relic repair and binding for years, Gao managed to establish his own studio at a local cultural street in 2008.

"I mainly take care of, and manage, cultural relics for clients," he says. "When a client brings an item to me, he needs me to design and make a corresponding box based on the category and quality of the artifact.

"If it is damaged, I also need to repair it, and if there are any placement requirements, I need to match it with a base," he adds.

Gao considers it a process of artistic re-creation, and he takes it as his mission to deliver a complete work of art.

The process of making an artistic container involves several preliminary steps, including conceptualizing the design, sketching the blueprint, and choosing the materials.

During the actual production process, a dozen steps are taken, such as measuring the dimensions, cutting fabrics, constructing the frame and making the paste, the interior and the clasp.

"When receiving a cultural relic, the first step is to measure its basic dimensions and draw a basic model," Gao says.

A container generally has to be one-third larger than the item's dimensions, which should be precisely measured.

"You need to ensure that, when the item is put inside, it will fit perfectly and be tightly sealed," he says.

"For example, a container for a porcelain bowl can be turned upside down without the bowl falling out. Even if you throw it 10 meters with the lid closed, and the box breaks, the bowl shouldn't crack."

When an item features an irregular shape, data on various parts should be obtained and then a related model diagram needs to be drawn.

For fabrics, Song brocade, which has a gorgeous color and a soft texture, is commonly used.

"The design must be based on the characteristics of the item it will house, using luxurious and auspicious patterns that render a harmonious effect inside and out," Gao says, adding that traditional cutting techniques are also applied.

For example, he made a container with a mountain and stone background for a butterfly-patterned hairpin.

"The hairpin can be inserted in a slot in the background, so the chances of hands touching it can be reduced and the whole thing creates a whole picture," he explains.

Developing base skills

As for the materials used for the packaging container, they may vary with the variety of the items, depending on such factors as the collectible's capacity to withstand force.

"Hard materials include paperboard, various types of wood, and composite board, while soft materials range from brocade, satin, silk, linen and cotton," Gao says.

The next step is to glue the panels of the box together, which takes between two and seven days to complete.

"It is key to make sure that the surface is smooth and wrinkle-free after the fabric is pasted onto the periphery of the box, with no corners left exposed, and that the pattern and design are even and natural," Gao says.

The most crucial step, he adds, has to be making the interior.

"It directly relates to the protection of the antique and highlights its features," he explains, adding that the materials should be carefully chosen and meticulously applied.

The final step is to make the clasp and buckle, which can be made out of jade, bone or wood, and can come in various forms.

Challenges arise when items of an unfamiliar nature are handed over to Gao. For instance, when he was asked by a friend two years ago to repair a stoneware item and to make a pedestal to hold it, Gao went out of his way to deliver a natural looking base.

He eventually delivered a nice pedestal, but has still been struggling to restore the stoneware item.

"The process has been tough, but I've picked up new knowledge in the process," Gao says.

He believes that encountering difficulties when handling various types of cultural relics and artifacts is normal, especially at the beginning.

"They have differences and similarities, but if we can master the similarities, it is easier for us to understand new knowledge and techniques," he says.

In fact, one of the biggest joys he gets from his work is the continuous acquisition of new knowledge and skills.

"I hope I can learn new things and improve myself every day," he says.

Gifting the knowledge

Many craftsmen like Gao have engaged in the ancient craft, which has gained greater attention both at home and abroad.

Zhang Bin from Beijing Meida Technology Co, which employs artisans to make delicate jewelry boxes and cabinets in the old-fashioned way like Gao, says the company has been approached by buyers at major trade fairs held across the country in recent years.

"The public has shown great curiosity and interest in these delicate' packaging boxes', which they hadn't seen before."

The company's products have been presented to clients in Europe, in places like Poland and Italy, who have expressed a desire to collaborate in the future.

"Next, we will bring more of those products featuring traditional Chinese culture and related elements to the overseas market," Zhang says.

Over the years, Gao has also sensed a significant rise in public interest in cultural relics and history. It has consolidated his conviction about the value of his trade and made him very demanding about his work.

"I insist on ensuring my independence in artistic creation," he says, adding that sometimes it has caused him to offend his clients. He stresses that he feels obliged to take responsibility for every single piece that passes through his hands.

Speaking about the future, Gao says he plans to use the internet, such as the WeChat platform, to share his knowledge and skills of the trade.

"I'd like to do my part to promote awareness, understanding, and appreciation of this art form to a wider audience," Gao says.