Tracing back to the technical development of Qi Diao.

According to Huang Cheng's Beard Decoration in Ming Dynasty, this ancient craft originated in Sichuan and Yunnan in Tang Dynasty, but there were no lacquer carvings in Tang Dynasty. The Song Dynasty was a period of technological development in Qi Diao. Red picking and rhinoceros picking have both appeared. The Palace Museum in Beijing has exquisite red boxes with laurel patterns handed down from ancient times, and the Yuanjue Temple in Japan also has black plates with Zuiwengting and Zhu Jindi brought by Xu Ziyuan, a follower of the Song Dynasty, who traveled to Japan. The rhinoceros horn picking technology was very mature in the Song Dynasty, and a large number of rhinoceros horn pickers were unearthed in the tombs of the Southern Song Dynasty and the Jin Dynasty in Wujin, Jiangsu and Datong, Shanxi. For example, the rhinoceros mirror box unearthed from the Southern Song Dynasty Zhou Tomb in Jintan, Jiangsu Province is a wonderful work. Mirror box diameter 15.4 cm, length 27 cm. It is made of wood, with thick paint and round blades. Now it is in Changzhou Museum. When it was unearthed, there was a mirror in the box, which showed that wealthy families had been very fond of carved lacquer products in their daily lives.

In the Yuan Dynasty, with the flow of craftsmen, Qi Diao's skills were introduced to Beijing from Jiaxing, Zhejiang and other places. Because craftsmen in the Yuan Dynasty would engrave names on the bottom of their works. They created many excellent works, many of which are still preserved in the Palace Museum. Qi Diao's skills in the Yuan Dynasty continued to the Ming Dynasty through generations of artists. At the beginning of the Ming Dynasty, due to the increasing demand for the imperial palace and national gifts, the Imperial Palace supervisor set up a workshop for making lacquerware-Orchard Factory in Beijing, and invited Zhang Degang, the son of a famous artist in the Yuan Dynasty, to preside over it. Excellent craftsmen from all over the country gathered in Beijing, and Qi Diao artists from all walks of life studied hard and learned from each other. Qi Diao's skills improved day by day, and different production skills and artistic styles merged with each other, which finally created the unique features of Beijing Qi Diao's crafts. In terms of art, the carved lacquer products made by Orchard Factory in the early days are polished, smooth, simple and vigorous, which is incomparable to the previous carved lacquer. In the late Ming Dynasty, after a period of shrinking, Qi Diao technology began to flourish again in the early Qing Dynasty.

In Beijing, following the Orchard Factory in Ming Dynasty, Qi Diao Craft in Qing Dynasty set up a lacquer factory to specialize in the production of Qi Diao and other lacquer products. Due to the high price, most of the carved lacquers in Qing Dynasty were products of the Royal Manufacturing Bureau. In the mid-Qing Dynasty, due to the love of Emperor Qianlong, the court produced a large number of carved lacquer works, ranging from screens, pedals, tables and chairs to bottles, boxes, plates and even daily furnishings. Lacquerware works in this period were characterized by rigorous composition, meticulous carving, complicated patterns and complex technology, forming an elegant, elegant and elegant artistic style. Compared with Ming Dynasty, Qi Diao in Qing Dynasty has many remarkable characteristics. Carved lacquer was deep red in Ming dynasty and bright red in Qing dynasty; Qi Diao Dao in Ming Dynasty was round and polished, but in Qing Dynasty, the knife marks were exposed and not polished. The carved lacquer patterns in Ming Dynasty are solemn and vigorous, while those in Qing Dynasty are fine and slender. In addition, the fetal bones carved with lacquerware in the Ming Dynasty were mostly wooden tires, while in the Qing Dynasty, they were both porcelain tires, purple sand tires and leather tires. In the Qing Dynasty, Qi Diao also picked out many colors, and craftsmen often carved two-color brocade to increase the variety of colors. From the perspective of theme, on the basis of the theme of flowers, fruits and vegetables, Beijing carved lacquer in Qing Dynasty added many themes that implied good luck and celebrated peace and prosperity, and the pattern space was generally treated in the form of opening. Carved lacquer products produced in Ming and Qing Dynasties are mostly hidden in Beijing Palace Museum, Taipei Palace Museum, Nanjing Museum, Liaoning Provincial Museum and Shanghai Museum. After Qianlong, with the decline of national strength, the production of carved lacquer is shrinking day by day. At the end of the Qing Dynasty, political turmoil and economic recession caused the demand for lacquerware in the court to drop sharply, which led to the interruption of lacquerware manufacturing and the almost lost lacquerware carving skills.

After 1949, Beijing convened the carved lacquer descendants scattered among the Han nationality to establish the Beijing carved lacquer production cooperative, and 1958 was transformed into Beijing carved lacquer factory, which became the main position for the inheritance and development of Beijing carved lacquer.