Research On The Aesthetic Concepts Of Lacquerware In Chu

Aesthetic concepts are people’s perceptions and values of beauty.It includes the ability to perceive,understand,and evaluate beauty,which is influenced by a variety of factors such as cultural background,social environment,personal experience,and education.In different cultures and times,people have different views of what beauty is.Understanding beauty means that we have an understanding of the intellectual,emotional,and philosophical aspects conveyed by a work of art.Evaluating beauty requires judgment employing some standards or criteria,and different fields have their specific aesthetic criteria.An individual’s personality,experience,and educational background also influence the formation of his or her aesthetic concepts.Aesthetic concepts are not only determined by individual subjective feelings but also include cultural inheritance and historical accumulation.There are often differences in aesthetic concepts in different countries,regions,and cultural backgrounds.In addition,the aesthetic concept also involves the development and evolution of art and culture.Different cultures and eras have their unique aesthetic standards,and the concept of aesthetics is constantly evolving with technological and cultural changes.The concept of aesthetics is very broad and complex,and this study is based on the process of creating aesthetics under the influence of the complex history and thoughts of the Chu people at that time.The aesthetic concept of Chu lacquerware has experienced a transformation process from mysterious and romantic to rational and programmed,and the process is also a process of customization,which results in the daily life and civilianization of lacquerware.Eventually,the lacquerware was put on the stage of the daily life of the Chu people and appeared in every aspect of daily life.This is a long-term,holistic process,including not only the transformation from aesthetic concepts to shape and form but also the transformation of media and even institutional customs.During the Spring and Autumn and Warring States Periods,the rites and music were in ruins,the vassals were divided,and society was in turmoil.The state of Chu rose rapidly amidst the chaos of the vassals and became a great vassal state,and at the same time,the ideology and culture of the state of Chu were greatly developed.Philosopher Jaspers called this period the "Axial Age"①,the cultural achievements created during this period have made great contributions to the development of human history,and the influence of this period is indispensable to every progress of human society.At this unique point in history,the spiritual thoughts of the Hundred Schools of Thought penetrated real society,promoting the transformation of people’s values and the establishment of aesthetics.People actively engaged in artistic creation in daily life and cultivated their artistic aesthetics.It can be said that this period saw the emergence of a cultural phenomenon in which art and daily life were intertwined.The state of Chu was a southern power with superior comprehensive national strength at that time,and it had an economic foundation to support its artistic innovation and pursuit of novelty and curiosity.To satisfy the material enjoyment of extravagance and extravagance,at the same time to boast of power and wealth,the upper class of the society of Chu showed different characteristics from other regional cultures in terms of clothing,food,housing,and so on,and were encouraged by the rulers to wear strange clothes,strange equipment,and strange skills.As a result,craftsmanship and artistic creation developed as never before.The core issue of this paper is to explore the aesthetic ideas of Chu lacquerware and the historical genesis of its aesthetic concepts.Chu lacquerware has the aesthetic characteristics of combining romance and rationality,mysticism and programming,and daily life and common people,and the investigation of the concepts behind these aesthetic characteristics is not only a demand for the development of the disciplines of design and design history,but also a forward-looking demand for the integration and development of the disciplines of art history,institutional history,and cultural history.The aesthetic art of Chu lacquerware has profoundly influenced the development of art in later generations,and its imagination and romanticism are incomparable to that of other art forms of the same time.Chu lacquer ware art of modeling forms of novelty,unpredictable,its artistic style of clear and strange,flying flow,the aesthetic interest of the stunning,strange Wei treacherous,to a large extent,still retains the naivety of the primitive ancestors,loyalty,passionate feelings.Chu lacquer "flow view" of the space modeling consciousness,the pursuit of life movement,and the stunning beauty of the reverence are some important features of the northern Zhouqin art that are difficult to find,in today’s view,the Chu people’s artistic spirit and artistic thinking,it is easier to access to the modern.As the first peak in the history of Chinese lacquerware development,the spirit of exploration and creativity demonstrated by Chu lacquerware is based on the designs of early Chu craftsmen,and the study of Chu lacquerware will also influence the future trends of Chinese lacquerware design.Archaeological results show that,compared with other vassal states in the same period,Chu lacquerware not only has the largest number of excavations but also has the highest production technology,the form and decoration of lacquerware are not only the most beautiful but also extend for hundreds of years,and the process of evolution in the middle of the process is the most obvious,and the influence on the later generations is also the most extensive,so it can be called the most typical model for research.Archaeological data confirm that Chu lacquerware not only had an important influence on the design and aesthetics of Qin and Han lacquerware,but also,as the highest level of development of lacquerware art in the pre-Qin period,influenced the basic direction and development trend of Chinese lacquerware to a great extent.It is of great significance for perfecting the history of Chinese lacquerware design.At the same time,the exploration of the aesthetic concepts of Chu lacquerware also breaks down the barriers between design and multiple disciplines such as design history,fine arts,art history,aesthetics,institutional history,cultural history,regional history,etc.,which is conducive to interdisciplinary exchanges and dialogues and the eventual establishment of the ontological status of the discipline.The manufacture and use of lacquerware in Chu have been developed for hundreds of years,and in the long evolution,the aesthetic concept of lacquerware has been changing,and the changes visible to the naked eye are the changes in the shape of lacquerware and decorative patterns.What cannot be seen is the change in Chu people’s daily life mentality,lifestyle,and aesthetic concepts behind the changes,and it is the change of aesthetic concepts that leads to the change of the aesthetic of the artifacts and then to the gradual evolution of the shape of the artifacts.The evolution of lacquerware can reflect the living habits and cultural behaviors of the Chu people.In this way,the study of lacquerware can discover a variety of relationships between lacquerware and people and society,and people and society.In addition,Chu lacquerware is an excellent national cultural heritage,and the study of the aesthetic concepts and the wisdom of the creation of Chu lacquerware provides ideas and references for contemporary Chu lacquerware design,Chu cultural and creative product design,contemporary packaging design,clothing design,landscape design and so on.In today’s design globalization,the study of the aesthetic concepts of Chu lacquer ware provides unique ideas full of "Chinese wisdom" to the globalization wave of "East learns from the West",which is conducive to the promotion of excellent traditional culture and the enhancement of national self-confidence.This study clarifies the class system of Chu lacquerware and establishes different class maps to analyze the interrelationship between daily life lacquerware,ritual lacquerware,funeral lacquerware,and the daily life of the Chu people.At the same time,comparing the excellent arts of different countries and regions in the same period,comparing different media in the same period,and analyzing the differences and common features of their artistic thinking and artistic performance;this study adopts a comparative scientific research method,using modern design theory to analyze the number and quantity of Chu lacquerware from the morphology.The research adopts the theory of ergonomics and uses the method of data analysis to analyze the formal and functional beauty of Chu lacquerware,and to reveal the aesthetic concepts of Chu lacquerware at different levels,such as the functional realm of lacquerware,the aesthetic realm,and the ethical realm.On the one hand,the study starts from the original natural environment and social situation of Chu,explores the special historical process of the development of the Chu nation and its ethnic character,and then explores its distinctive regional social and cultural peculiarities.Many factors such as the natural landscape,geographical environment,cultural tradition,economic pattern,and political environment of Chu have had an important impact on the aesthetic concept of Chu lacquerware and contributed to its continuous development.As an indispensable daily necessity in the life of the Chu people,lacquerware was widely accepted in the society,and it had a wide variety of types,covering various aspects such as clothing,food,residence,transportation,rituals,and burials,and was able to satisfy the material needs of people of all social strata.In the thinking and conception of the Chu people,the internal driving force centered on the witch culture profoundly shaped the Chu style and customs and was manifested in the metaphors of the aesthetic space of Chu lacquerware and the metaphors of the poetic space.On the other hand,the original relationship between the Chu people and lacquer ware.Chu lacquerware arose in the context of the lifestyle and customs of the Chu people.The dialectical relationship between practicality and aesthetics reached a high degree of unity in Chu lacquerware.The materials and craftsmanship of Chu lacquerware are harmonized with people’s needs for use,and the loading and stressing methods are reasonably designed.The size of the lacquerware matches very well with the physical size of human beings,which meets the personalized needs of individual differences,and at the same time shows the development trend that the production of Chu lacquerware is dominated by practicality.In the rich aesthetic expression of Chu lacquerware,we can also feel the spirit and rich thoughts of Chu people.Lacquerware is not only a medium for the Chu people to express their understanding of life but also expresses their love of life and desire for a better life.After a long period of development,Chu lacquerware has formed a collective aesthetic consensus unique to the Chu style.The mathematical relationships such as the golden section ratio and isometric series embedded between the whole and the part and the part and the part of the Chu lacquerware make the lacquerware present a kind of beauty from mystery to programmed.After a comparative study of archaeological images,it is found that the morphological evolution of Chu lacquerware also lurks in the inheritance of tradition.The aesthetic concepts and spiritual connotations of Chu lacquerware have profoundly influenced later generations and their neighboring minorities,and they also have a strong inspirational effect on the development of contemporary society and contemporary art.In addition,this study delves into the warnings of social ethics embedded in Chu lacquerware.It was found that Chu lacquerware was designed to incorporate "respect for the elderly," "praying for blessings," "nature" and "good fortune" into the design of lacquerware through a variety of methods,such as textual narration,color expression,artistic image symbolism,ethical situation shaping and other methods and means."respect for the elderly","praying for blessings","nature","virtue and goodness" and other ethical consciousness into the production of lacquer ware.Incorporating the ethical consciousness of "respect for the elderly","praying for blessings","nature" and "virtue and goodness" into lacquerware production not only includes the use of tools,but also the production of wares,which are made of lacquerware,and the use of the tools is not only the use of tools but also the use of wares.This includes not only the use of tools,but also the shape of the objects,the design of decorations,and the use of colors.The Chu people cultivated virtue with their wares,spreading a sense of morality,responsibility,and judgment of good and evil.At the same time,they also used the tools to follow the rituals and regulate the mutual relationship between people.The integration and display of ethical consciousness in the lacquerware of Chu also reflects the pursuit of the goodness of the people of Chu through the use of artifacts and highlights the depth and sublimity of the spiritual world of the people of Chu.To sum up,the aesthetic concept of Chu lacquer ware has the characteristics of both daily and civilianization,which is embodied in "use","beauty" and "goodness" to fully satisfy the material needs,spiritual needs,human needs,and moral needs of the Chu people.needs,human needs,and moral needs;also embodied in the combination of romance and rationality,manifested in the aesthetics of Chu lacquer ware,embodied in the Chu people’s inner nature of "practicality",the aesthetic pursuit of "the most beautiful" and the design character of "the best";the aesthetics of Chu lacquer ware is also manifested in the combination of mysticism and programming,which resides in daily life and transcends daily life,while at the same time,it is not only in daily life but also beyond daily life.The aesthetics of Chu lacquerware is also manifested in the combination of mysticism and problematization,which resides in daily life and transcends daily life,and at the same time is the aesthetics of daily life.It played a great role in the life of the Chu people.