About Us | LIULI Crystal Art

LIULI SYMBOL

LIULI's name and logo were born in 1987. It encapsulates tradition and modernity. “Liuli” is in typeface while “gongfang” is in traditional Chinese calligraphy; "fang” extends out from the framework to emphasize creativity and a breakout spirit.

So far, we still use this logo and hope that either glass art or crystal art will be called “Liuli” one day.

Three thousand years ago, the name of Liuli has been called since the Western Chou Dynasty.

LIULI HISTORY

Founded in 1987 by Loretta H. Yang and Chang Yi in Taiwan, and was the first crystal art workshop in Asia. Liuli, slowly, became a recognizable brand name because Loretta's creations have held exhibitions world-wide; and is the largest Chinese art and cultural brand.

LIULI's designs are inspired by ancient Chinese culture and philosophy and are hand-crafted using the Pate de verre technique. Our motto is always "To Continuously Create Art for the Good of the Heart".

LIULI BACKGROUND

LIULIGONGFANG, also known as LIULI Crystal Art, LIULI, or LIU LI GONG FANG is a heritage brand founded by renowned studio glass artists Loretta H. Yang and Chang Yi. LIULI’s humble beginning started in 1987 with a small workshop in Taiwan, and has grown into the leading crystal glass art brand in Asia. LIULI’s artworks are displayed in permanent collections at numerous museums worldwide, such as The Corning Museum of Glass in New York, The Victoria and Albert Museum in the U.K., and the Palace Museum in Beijing.

Today, Loretta H. Yang is recognized as the pioneer of contemporary Liuli art, and The New York Times has dubbed CEO Chang Yi as the “Father of the Asia Studio Glass Movement.”


Chang Yi 张毅, Glass Artist & Founder, Marketing Director
Taiwan, 1951 - Present

Know more about Chang Yi:
English | Simplified Chinese | Traditional Chinese

The Collections Acquired by World-class Museums

Liuli pâte-de-verre pioneer Chang Yi founded LIULI Crystal Art in 1987. As the creative director of the now internationally acclaimed studio he has powered the philosophies and artistic vision of LIULI for three decades alongside Loretta H. Yang. A Golden Horse-awarded film director and noted Taiwanese short story writer, Chang takes from his experience in narrative and literary knowledge to drive the creative force behind LIULI studio’s many art pieces and collections.

In addition to exhibiting liuli art in Beijing, Japan, Paris, and other cities around the world, Chang founded the LIULI China Museum in 2006—an accomplishment that has elevated Chinese culture and the global exchange of art by many degrees. Today the museum displays and collects Chinese liuli as well as glass art from around the world.

Dubbed “the father of Asia’s studio glass movement” by the New York Times, Chang approaches art from the philosophy that it is the soil that cultivates culture and life. In glass, he has achieved mastery of the medium through a unique control of its relationship to both light and shadow. In this way, both craft and artistic inspiration come together to complement each other. Through Chang’s understanding of life and death, and of Buddhist teachings on transience, that style of liuli redefines the conventional view of contemporary art and imbues it with cultural heritage and life wisdom.

 

 

Loretta H.S. Yang 杨惠姗, Glass Artist & Founder
Taiwan, 1952 - Present

Know more about Loretta H.S. Yang:
English | Simplified Chinese | Traditional Chinese

The Collections Acquired by World-class Museums

LIULI Crystal Art founder and pâte-de-verre artist Loretta H. Yang is most recognized for her achievements in the revival of Chinese “liuli” glass crafting. Her work combines cultural tradition with modern aesthetics and has led the Chinese glass art movement for the past three decades. To date, her work has been collected by dozens of museums and galleries in Europe and Asia including: Musée des Arts Decoratifs (Paris), Victoria and Albert Museum (London), Corning Museum of Glass (New York), Musée National de Ceramique de Sevres, and the Palace Museum in Beijing.

A two-time recipient of the Golden Horse Best Actress award, Yang draws from her experiences as an acclaimed film figure of the 70s. Having left the entertainment world at the height of her career, she has also deeply explored the cultural history and motifs of Chinese art. Hence, her work exemplifies a strong balance of personal and cultural expression. Those influences are also evident in her way of expressing themes on transience, ephemerality, and compassion.

Since founding her studio, LIULI, in 1987, Yang has continually refined the laborious craft of pâte-de-verre. In doing so, she has uncovered unique techniques (such as the use of powdered glass or multiple firings) that have elevated her expression and contributed vastly to the international art community. With those years of creativity and progress culminating in some impressive achievements—including the exhibition of her Formless but Not without Form collection at the Grand Palais of Paris in 2015—Yang continues to make leaps and bounds in Chinese liuli art and contemporary expression.


ART DIRECTOR LORETTA H.S. YANG AND CHANG YI

They are the Legend. Loretta H. Yang and Chang Yi are inseparable.

Loretta won the Golden Horse Awards for Best Female lead actress twice; while Chang Yi won the Best Director. He was film director, writer and key figure in the New Wave of Taiwanese cinema in the 1980s.

The award is equivalent to the Oscars in Asia.

Yang shocked everyone when she left the film industry at the height of her career with Chang Yi, and devoted them into glass art. Since then, they gained admiration and respect with their thriving cultural enterprise, LIULI.

Loretta Yang's works are collected in more than 20 world-class museums, including Victoria and Albert museum in England and Corning museum of glass in US.

As for Chang Yi, he has been dubbed by The New York Times as “Father of the Asia Studio Glass Movement”. Chang Yi started promoting industrial development for contemporary glass art across the region from as early as 1987 where Chinese glass art was basically non-existent. Today, there are more than 300 glass factories and individual workshops in China doing glass art, which can all be traced back to LIULI.

TECHNIQUE

Our artists uses the ancient art of Lost-Wax Casting, a two thousand year old technique used during the Han Dynasty to produce Chinese Bronzes and the Ear Cup.

Lost-Wax Casting is a 12-step process, also known as Pate de verre, undertaken by our expert artists. Each of our artwork is carefully handcrafted and unique in its own way. At LIULI, we feel that Lost-Wax Casting is the only technique that can create the extraordinary detail seen in each one of our artworks.

MOTTO AND INSPIRATION

Our motto is “To Continuously Create Art for the Good of the Heart.” It is our company practice to deeply embed the ideals of prosperity, love, and spiritual peace into each and every one of our artworks.

Each LIULI artwork tells a story about life, and bears its own unique beauty and spirit. It is based on 5,000 years of Chinese culture and tradition, and is inspired by famous Chinese poets, philosophers, artists, and folklores.

MATERIAL

“LIULI” stands for Chinese Glass Art. All of our artworks are made using 24% PbO glass. We chose to keep this term because it makes a spiritual connection between our artwork and Chinese history. Therefore, LIULI is not just a material- it is an emotion, a spirit and our thoughts.

POINT OF SALES

We have more than 70 galleries in 15 international cities worldwide. Our artworks are also featured in prestigious establishments such as Wynn Las Vegas and Gump’s in San Francisco. All of us at LIULI Crystal Art sincerely invite you to discover and explore the world of LIULI.

CRAFTSMANSHIP

LIULI uses the ancient art of Lost-Wax Casting, a two thousand year-old technique used during the Han Dynasty to produce bronze and Liuli sculptures.

Lost-wax casting is one of many techniques used in creating Liuli art.  The advantage of this technique is the potential for incredible details on the sculpture. Constant experimentation by the artists expands the creative realm of Liuli art.

Each sculpture involves a complex twelve-step process.  Each step must be performed without error to prevent breakage, irregular air pockets or impurities. Hence, every sculpture is individually handcrafted and unique. On the underside of every Liuli sculpture, a serial number is engraved by a diamond-tipped tool. The limited production restricts market saturation and giving way to new creations by the artists.

THE ART 
“Without humans, there can be no art” – Curator Chang Yi

We believe in art because art is interlaced with our very existence. Whether it is an idea, an emotion or a person, it serves as a statement on the universe and life.

Is LIULI art? Can it be art? Just as the validity of oil painting is never questioned yet a simple drawing is, we feel that this type of question misses the point. We question if glass art is the art of the people. Does it reflect our thoughts in this world? If not, then all glass sculptures are mere indulgences of technique.

The history of human and glass is extensive but glass art tied to human emotions are rare.

Hence, why Liuli? We have faith that it possesses the ability to speak our thoughts and emotions on life.

SIGNIFICANCE OF LIULI

LIULI, adopted from the phonetic Chinese spelling of the ancient Chinese term for glass art, is more than a material; more than a creative medium. LIULI is the embodiment of spirit and life.

The term “Liuli” first appeared in the Western Zhou Dynasty as a reference to the lead-barium glass produced at the time. We believe that if thought and emotion are neglected, technique and material will never evolve past the surface level.

This is why we did not adopt the common French or English term for “crystal glass” and instead opted for the phonetic Chinese spelling of “Liuli”.  Instilling this significance into our creative material represents the importance the cultural and historical connection for LIULI.

Each and every LIULI design is rich with life and proposes a unique narrative and the artists scrutinize the myriad of possibilities held by contemporary lifestyle design and push Liuli to pass the boundaries of accessory and craft to incorporate it into modern culture and life creating LIULI LIVING and LIULI PLUX.

LIULI LIVING, a contemporary lifestyle brand launched in 2001. A natural extension from LIULI, LIVING’s offering of finest Chinese lifestyle goods was the first of its kind. In 2002, LIULI PLUX was born, an accessory line created for women, accentuating the female concept and perspective.