Through the meticulous study of ancient documents and persistent experimentation, he successfully decoded the nuances of rhinoceros leather lacquer crafting, which had only been briefly documented in historical records. After numerous attempts, he was finally able to re-create the classic rhinoceros leather lacquer design in layers of red, yellow and black.

Yet Gan found the texture lacking the dynamic quality he envisioned, considering it too monotonous. "Since I've undertaken this mission, I aim for perfection. I want to keep improving this technique and give it a modern look."

While traditional masters used red, yellow and black lacquer, Gan began incorporating gold to replace the traditional yellow tones, creating enhanced brilliance. He also enriched the layering from the typical six to 16 coats of antiquity to up to 102 layers, achieving depth and movement in the patterns.

Qian Wenzhong, a history professor at Fudan University, says Gan's works don't just catch people's attention; they capture it completely. People used to refer to the craft as a divine skill, and these works are truly, divinely masterful.

To Gan, lacquerware transcends pure artistry while remaining functional. In his studio, ordinary household items like tea caddies and furniture are lacquered. Each handcrafted object adheres to the same standards, with seamless joints and surfaces polished to mirror-like perfection.

"We never calculate labor costs. Every piece, large or small, takes over a year because only in that time can we achieve perfection," Gan explains. "My works are treated equally inside and out — you can see the reflection of your eyes from the buffed interior when looking through the tiny opening."