Little emphasis was placed on the design of jewelry in traditional China. Size and materials alone determined a piece of jewelry's worth. The jeweler Liu Wan-hang has initiated a change in this tradition. His exquisite jewelry is on exhibit this month at Taipei's Spring Gallery.

These delicate works are a contrast to the workshop from which they emerged. Liu's studio is strewn with jeweler's saws, hammers, anvil and burners. With jars of boric acid, copper nitrate and other chemicals stacked in cupboards on the walls, it has all the makings of a chemistry laboratory. From this one begins to realize that jewelry-making requires not only the heart of an artist, but the knowledge of a chemist and skill of a blacksmith as well.

Jewelry as an art form developed much earlier in the West than in China. Craftsmen in ancient Greece and Rome used fine metalworking skills in making jewelry. After the French Revolution, artists as well began to design jewelry. In the 20th century, art schools in Europe and America began teaching courses and setting up departments in jewelry-making. Now jewelry is considered an independent art form in the West.

In China, jewelry was not given much attention as an art form. At an early date, China had already developed many of the techniques necessary for jewelry-making, including repousse, engraving, stone setting, forging and casting. From Shang bronzes to Ming enamels, we see numerous examples of such technical refinement. But these techniques were used to make objects other than jewelry.

During wartime, a family's wealth could be conveniently preserved and transported in the form of gold and silver jewelry set with precious gems. Yet such jewelry was more valuable as property than as art.

Liu Wan-hang, the first Chinese to study jewelry-making in the West, has brought Taiwan a new way of looking at jewelry.

Liu originally went to the University of Southern Illinois to study public administration. When his interest in the subject lagged he began sitting in on classes in jewelry-making. Although he initially had problems understanding the technical, chemistry-related aspects, his teacher, Brent Kinton made a special effort to help and train him.

Liu completed a degree in jewelry-making and continued on to graduate school. After eight years of steady training he had mastered all of the basic jewelry techniques and participated in numerous exhibitions.

Upon his return to Taiwan, Liu became chairman of the newly established technology section of the National Palace Museum. There he researched China's ancient metal-working techniques. He was delighted to find that with the exception of electroplating, China had all of the techniques necessary for modern jewelry-making by the T'ang dynasty. Ancient art and methods soon became an inspiration to Liu's own work.

While Liu has worked with other art forms, he enjoys jewelry the most. He delights in the vast expressive value of an object of tiny proportions. To Liu, a piece of jewelry is a statue in miniature, its texture like a minute abstract painting.

While Liu's early jewelry had recognizable shapes, his work has gradually become abstract. His specialty is creating oval forms with wire-work.

But Liu always enjoys exploring new techniques. One of these was discovered when he made a mistake during the centrifugal lost wax process. He found that a spillage of molten metal created an interesting pattern as it landed, and began to use this method to make web-like forms for jewelry. Liu also makes novel forms by dropping melted silver into water to harden.

Liu Wan-hang particularly enjoys forging because of the simplicity and clarity of the final product, and the effect created by the interplay of hard and soft--hard metal forged into soft, pliant-looking shapes.

Liu adopted a number of ideas from ancient sources. The inspiration for many of his forms is derived from the motifs of Chinese landscape painting and Chinese knotting. The Chinese traditionally prefer metals with dark patina over shiny, bright surfaces. By applying potassium sulfide to his jewelry, Liu replicates this ancient look. While Liu's jewelry forms may seem modern in appearance, they have the spirit of the ancients.

Liu also reflects Chinese tradition in his use of gems. The stones in his jewelry remain uncut, and like the ancients, he uses semi-precious rather than precious stones.

Liu uses semi-precious stones because of his conviction that the material in a piece of jewelry is merely a medium for the expression of the design. The design, rather than the material used, is the true item of value.

Liu Wan-hang feels that jewelry-making has no set boundaries. Possible methods and materials are unlimited. The only restriction is that the item must be comfortable and compatible with the wrist, neck or hand on which it is worn.

On the practical level, he feels that jewelry could play an important role in Taiwan's economy. Jewelry settings could add to the value of the considerable amount of coral and jade exported by the island.

Liu is now promoting his concept of jewelry design by teaching jewelry classes at two of Taiwan's art schools. He hopes that through his students, jewelry-making will become an independent, universal art in Taiwan.

(Jill Ardourel)

[Picture Caption]

1. A ceramic ornament sets off the winding linear design of a necklace pendant. Inspiration for the piece came from a painting by Pa Ta Shan Jen. 2. A pair of uniquely welded earrings.

1. Leaf shapes carefully wrought out of metal wire make up a necklace design. 2. A wirework necklace with a traditional Chinese knotting design. 3.4. The graceful shapes of both necklace and bracelet were created using the forging method. They are embellished with semi-precious gems. 5. A silver shell with inset gems makes up a pendant design. 6. A web-like pendant created from "spilled" molten metal.

1. Treatment with potassium sulfide gives this necklace an ancient look. 2. Free-form shapes are soldered together to make a bracelet. 3. A metal spillage during the centrifugal lost wax process becomes a new jewelry form.

2. A pair of uniquely welded earrings.

1. Leaf shapes carefully wrought out of metal wire make up a necklace design.

2. A wirework necklace with a traditional Chinese knotting design.

3.4. The graceful shapes of both necklace and bracelet were created using the forging method. They are embellished with semi-precious gems.

3.4. The graceful shapes of both necklace and bracelet were created using the forging method. They are embellished with semi-precious gems.

5. A silver shell with inset gems makes up a pendant design.

6. A web-like pendant created from "spilled" molten metal.

1. Treatment with potassium sulfide gives this necklace an ancient look.

2. Free-form shapes are soldered together to make a bracelet.

3. A metal spillage during the centrifugal lost wax process becomes a new jewelry form.