By Nur’Ain Taha
Two images frame this story of lacquer and imaginaries. The first, from Print of Sixteen Crafts and Trades (Ambachten en Beroepen) by Hendrik Numan (1788-1796), shows a Dutch lacquer craftsman (lakwerker) bent over a pot of varnish in a quiet workshop. The second, from Draken in Oost-Indie, Lakwerk en Papier uit China by Romeyn de Highe (published by Pieter van der Aa, Leiden, 1682-1733), depicts a crowded Chinese atelier buzzing with figures polishing and painting lacquer onto various objects. Between these two scenes, the differences are jarring. The Dutch scene is subdued and contained, while the Chinese one is imagined and exotic. Despite the sharp contrast, both scenes reveal how early modern Europe had transformed Asian materials into a fantasy. These contrasting images, however, invite a question: what can recipes reveal about how the world was imagined, handled, and domesticated in early modern Europe? To see how distant worlds become embedded in recipes, we might start in a seventeenth-century Oxford manual that made “Asia” reproducible in decorations and on the surfaces of English furniture.


In 1688, John Stalker and George Parker published A treatise of Japanning and Varnishing (Oxford, 1688), a craft manual that offers readers and aspiring makers the promise of “distant mastery” by making it possible to reproduce the gloss and sheen of the much-admired Asian varnish without ever leaving home. “Japanning,” in short, was a craft of imagination that materialised in European craft manuals. The English japanner became a kind of armchair traveller — a maker who imagined the East through the replication of textual recipes.
Chapter I from the Treatise instructs its readers on how to select the best ingredients needed for “japanning”: “To choose gum Sandrick,” “To choose Benjamin or Benzoine,” and so on.[1] Each line lists a commodity extracted from distant colonies. Benzoin, also known locally in the Malay Archipelago as kemenyan, for example, was tapped from Styrax trees in the Sumatran highlands by local resin gatherers, then traded through Batavia to Amsterdam and London. “Sandrick,” or sandarac, was drawn from the Tetraclinis articulata of North Africa. Yet, the Treatise makes no mention of these routes or the labourers who made their extraction and trading possible. Instead, the instructions reduced global exchanges to simple verbs: melt, strain, mix, and apply.

Here, between the lines of this manual, transformation is not only chemical but also conceptual. Through craft, the empire becomes domesticated where its raw materials are melted, strained, and mixed into manageable forms. “Japanning” is the epitome of the global recipe, one where cultural entanglement, armchair exoticism and colonial dependence become condensed into a set of formulaic instructions. With each varnish layered on the glossy surface, the trace of global commodities and distant labour is progressively erased.
Global trade became transmuted into domestic craft where the processes of making varnish in English workshops indicate not just a fantasy of control and possession but also acts of erasure and forgetting.
If Stalker and Parker’s Treatise turned encounters into varnish, the Malay Kitab Tib (medical manuscripts) transformed globalised commodities such as benzoin, camphor, ambergris, and musk into fragrance and medication. Across different manuscripts, one finds recipes that domesticate exotic materials not into fantasy, but into care and healing. One recipe for a special medicine (ubat Istimewa) in Kitab Tib MSS 2515: p. 194 for example, lists several rare ingredients to treat male impotence (mati pucuk):
Firstly, take male cubebs weighing nine mas[2], javanese cinnamon weighing nine mas, nutmeg weighing nine mas, ambergris weighing nine mas, cloves weighing nine mas, musk weighing nine mas, benzoin weighing seven mas, Bengal kara-kara root weighing one mas, mustaqim weighing half a mas, and camphor weighing one mas.[3]
Like the English recipe for varnish, recipes in various Kitab Tib manuscripts constituted commodities and incorporated rare ingredients transported across the oceans. The use of ambergris (ambar, or muntah ikan) reveals how non-European traditions also absorbed global commodities into local systems of healing and knowledge. Unlike Stalker and Parker, whose 1688 Treatise of Japanning detached resins and other global commodities from their geographical sources, Kitab Tib mapped its ingredients to known worlds: “javanese cinnamon (kulit manis Jawa),” “Bengal kara-kara root (akar kara-kara Benggala),” “Chinese galangal (lengkuas Cina),” and “nutmeg flower from Penang (bunga pala Pulau Pinang).”[4] These names turned trade into routes, marking a world already known to Malay healers and setting the ground for how global matter was embodied in local traditional healing practices. In Malay medical manuals, global trade was neither exoticised nor imagined—it was rooted in the regional networks and embodied within local medicinal knowledge. The Kitab Tib transformed distant commodities into medicine and created scent that transformed the body’s balance. Where the English Treatise staged “Asia” at a distance, the Malay recipes absorbed it. Read together, these manuals show that early modern recipes were never just technical guides; they were ways of reimagining and embodying worlds, near and far. As Daniela Bleichmar observes for European processes of appropriation, “the expeditions’ selective efforts to make the empire visible always involved rendering parts of it invisible.”[5] The same applies to japanning: on every varnished surface, its sheen is not just beauty, but colonial possession that is made visible and invisible all at once by erasing the hands and landscapes that produced global commodities.
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Nur’Ain Taha is a PhD candidate in Art History at Utrecht University, Netherlands. Her research project, Crossing Worlds: The Global Materiality of “Netherlandish Objects” in the Early Modern Period, 1600-1800, examines the visible and invisible global origins of materials, techniques, and makers behind early modern “Dutch objects”. By tracing their trajectories, she reveals how cross-cultural exchanges shaped their creation and meaning, uncovering the interconnected worlds of production, influence, and knowledge beyond Europe.
FURTHER READING
Bleichmar, Daniela. Visible Empire: Botanical Expeditions and Visual Culture in the Hispanic Enlightenment. Chicago: The University of Chicago Press, 2012.
Mat Piah, Harun. Kitab Tib: Ilmu Perubatan Melayu. Kuala Lumpur: Perpustakaan Negara Malaysia, 2019.
Stalker, John, and George Parker. A Treatise of Japanning and Varnishing. Oxford, 1688. Digitized edition via Archive.org. https://archive.org/details/treatisejapanin00Stal/mode/2up.
[1] John Stalker and George Parker, A Treatise of Japanning and Varnishing (Oxford: 1688), 2–3.
[2] 1 mas ≈ 3.4 grams; recipes in old Malay manuscripts use early modern Malay measurement systems.
[3] Malay translation: Pertama ambil kemukus Jantan berat sembiln emas dan kulit manis Jawa berat Sembilan emas dan buah pala berat Sembilan emas dan ambar berat Sembilan emas dan cengkih berat Sembilan emas dan kesturi berat Sembilan emas dan kemenyan berat tujuh emas dan akar kara-kara Benggala berat seemas dan mustaqim berat tiga emas dan kapur barus berat seemas. From Kitab Tib: Ilmu Perubatan Melayu, ed. Harun Mat Piah (Kuala Lumpur: Perpustakaan Negara Malaysia, 2019), 102.
[4] Many other examples also appear throughout Kitab Tib MSS 2515, p. 194. See Harun Mat Piah, Kitab Tib: Ilmu Perubatan Melayu (Kuala Lumpur: Perpustakaan Negara Malaysia, 2019), 102-104.
[5] Daniela Bleichmar, Visible Empire: Botanical Expeditions and Visual Culture in the Hispanic Enlightenment (Chicago: University of Chicago Press, 2012), 151. On the thorny connections between visibility and invisibility, specifically in colonial Latin American visual culture, see Carolyn Dean and Dana Leibsohn, “Hybridity and Its Discontents: Considering Visual Culture in Colonial Spanish America,” Colonial Latin American Review 12, no. 1 (2003): 5-35.