Gan's journey began at a local arts and crafts factory from 1979 to 1986, where he gained deep insights into the lustrous craft's heritage. He found that although it originated in China, a concerning gap exists between China's traditional lacquer techniques and contemporary works, particularly compared to Japan's modern lacquer mastery. This realization prompted Gan to conduct deep research.

"Made-in-China lacquerware should stand equal to, if not surpass, any other lacquerware globally," Gan says.

Determined to elevate Chinese lacquerware to its deserved eminence, Gan embarked on an artistic quest. His breakthrough came with reviving the nearly lost craft of rhinoceros leather lacquer, named for its patterns reminiscent of the textures on the animal's hide. This style was once celebrated as the "prime of lacquerware" by Ming Dynasty painter Dong Qichang. A brief description in the Ming Dynasty treatise Xiushi Lu (A Record of Lacquerware Craft) sparked Gan's inspiration to re-create and enhance the technique.

The 20-character depiction that guided Gan states: "There are patterns like floating clouds, round flowers and overlapping pine bark textures. There are pieces with a glossy red surface, pursued as the beauty of extreme smoothness."

Gan recalls his early efforts to create an antique-style inkstone box based on ancient texts: "I knew what I needed to achieve, but the path was unclear. Each failed attempt meant grinding off the surface and repainting countless times."