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LIULI at Musee de l'Hotel Gouin

500-year anniversary, a conversation on glass heritage And the confluence of East and West

When Loretta H. Yang and Chang Yi first stepped foot in Tours last month on invitation to open for what was the 500th anniversary of an ancient art heritage site, they were swept but unsurprised at the history of the place.  When asked about their first impression, Yang and Chang both replied that it is immediately noticeable as a land of art revival.  And that, further yet, it truly is a garden of self-discovery where people who, through the struggle of contemplating the world, inspire the most genius of artistic creativity.  On April 20th, as the pair of Chinese glass maestros met with Antoine Leperlier for the second time in a year, this is the conversation that opened an unforgettable exhibit.

 Located in the UNESCO-named world heritage site of Tours, Hotel Gouin attracts all manners of brilliant minds from across the globe.  The 15th century building is redolent with details from a period of prolific art revival.  And since the opening of the exhibit in April, eighteen of Yang and Chang’s best pieces have been on display in the building.

Artworks at the Exhibition

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About the Artist: Loretta Yang & Chang Yi

[  Inquiry for exhibit's artwork  ]

While Antoine Leperlier’s panache indubitably inspires the awe in onlookers, Yang and Chang contrast in the quiet power of their contemplative work.  With thirty years of continual creativity and failure as well as both success and rejection in the art world, the two masters bring astonishing achievements and deep life philosophies that culminate in this international discussion on heritage, contemporaneity, and a confluence of East and West.

When asked about their views on this cross-cultural exchange, Yang and Chang replied that:  Yes, art is indeed an integral aspect of culture—culture is heritage, and it is life.  Therefore, art must have relevancy in its age and must be deeply connected to the life that the artists’ have led.  After two lifetimes of continual labor and painstaking effort to bring Chinese glass art to the modern and global arena, Yang and Chang can safely say that they are proud to have brought the beauty of liuli art this far.

 Photo Gallery

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Artist/Founder Loretta H. Yang leads a team of experienced artisans to create arts that honor the richness of cultural heritage and value.

Step No. 1: Design and sculpting


Step 2 of the process involves coating our original clay sculpture in silicone. Layer after layer (3 to 7 layers) is fastidiously coated to produce a negative mold, a crucial step in capturing the prevision of the sculpture. Each layer must dry completely before additional layer is applied, thickness must be uniform to prevent leakage of wax. Once complete, the clay is removed to reveal a negative silicone mold.

Step No. 2: Silicone molding


Pour molten wax into the negative silicone mold.

Step No. 3: Infusion of molten wax. Fill wax into a negative mold.


Once wax has solidified and cooled, release the wax form by carefully peeling back the silicone mold. Like a butterfly molting, the silicon is shed to reveal a positive wax form.

Step No. 4: Shedding of silicon mold to obtain the wax form


A careful refinement of the wax sculpture. Because every microinch and subtlety plays its own role in the grand scheme of beauty. Our artists refine the wax mold to its final perfection.

Step No. 5: Wax form refinement; removing imperfections


The wax mold is placed on a wooden plank in a metal container and plaster is poured and solidified. Embedding wax form with fire-resistant plaster.

Step No. 6: Coating the wax sculpture with plaster to form a refractory mold


Wax is steamed out of the plaster under high heat yielding a negative plaster mold.

Step No. 7: Removal of wax with steam—the essence of the “lost-wax” process


Liuli ingredients are created through unique firing and processing of glass. Color and size appropriate pieces are placed within the plaster and fired.

Step No 8: Choosing color; kiln firing


Fire and melt. Under intense heat, a new vision of transparency and clarity is born.

Step No. 9: Re-firing at 1,400 degrees Celsius


Extreme patience and care are necessary when removing the plaster to prevent damage.

Step No. 10: Removal of plaster mold

When the art pieces emerge, our masters step in to carefully chip away the plaster mold. Like excavating fragile archaeological relics, one false move and you're left with broken shards.


First comes die-cutting - smoothing the crystal down to the last microinch. Rough polish, removal of excess support, refinement and fine surface polish with a high-speed fabric wheel.

Step No. 11: Retouching of details; burnishing and polishing

Our artist refines and re-polishes each and every detail yet again.


An etched number on the base of each piece indicates its limited edition and reminds us to never stop creating. After the engraving - an official LIULI artwork is born.

Step No.12: Final inspection; etching of serial number; packaging