Font Size: a A A

A Study On The History Of Yunnan Lacquer

Posted on:2016-03-04Degree:DoctorType:Dissertation
Country:ChinaCandidate:Y HeFull Text:PDF
GTID:1105330491952390Subject:Art Cultural History
Abstract/Summary:PDF Full Text Request
Yunnan lacquer art has a long history of development, and its emergence can be traced back to the middle Warring States period. By the Western Han dynasty, the dual influences of foreign culture and native culture ushered in the flourishing period of Yunnan lacquer art, thus creating a mature art form with local cultural characteristics. Over more than 2,000 years that followed, Yunnan lacquer art has utilized an eclectic variety of other art forms, which has never been interrupted. Therefore, it plays an important role in the history of Chinese lacquer art. Taking Yunnan lacquer art as the research object, the author sorts out its development history and draws the outline of its artistic evolution through a large number of field investigations on the basis of previous achievements in archaeology and history. Furthermore, by illustrating the artistic characteristics of different periods in figures and charts, this paper analyzes the thoughts of artistic designs and aesthetic connotations of national cultures in this art.This paper probes into Yunnan lacquer art from the following four aspects:1. History:the development history of Yunnan lacquer art. It is described in Chapter 1 and Chapter 2, and Chapter 2 is the basic part and displays the research results of this paper. Through sorting out related documents and archaeological materials and field work, this paper reaches the following conclusions:Yunnan lacquer art appeared in the middle Warring States period and reached the first high point in the western Han Dynasty, thus forming one of the features of Dian Culture. After the Eastern Han Dynasty, the forms of lacquer arts had a single form but maintained a stable development momentum. After the development of lacquer arts during the Wei and Jin Dynasties to the Tang and Song Dynasties, the second peak began in the Ming Dynasty. At this time, Yunnan lacquer engraving was introduced into the courts as a distinctive artistic form. This art started to transform and gradually developed the local lacquer art with minority characteristics after the Qing Dynasty. However, it declined day by day as a whole. Entering the modern age, minority lacquer arts began to grow and mature, and the national lacquer arts of the Yi nationality, Tibetan nationality and Dai nationality became the representatives of Yunnan modern lacquer arts. In this part, the author divides the development history of lacquer arts into two periods and poses two viewpoints:First, historical records show that "the Dian Shield" derived from Yunnan instead of Sichuan for the first time; second, the development of the flourished Yunnan lacquer engraving was impacted by the matured woodcarving craft in the Ming Dynasty.2. Implement:the characteristics of Yunnan lacquer arts, which are described in Chapter 3 and Chapter 4. By analyzing and inducing the matrixes, shapes, decorative patterns and decorative practices of lacquerware, the author sums up its artistic characteristics and artistic laws. Chapter 3 focuses on the development laws of ancient lacquer arts in Yunnan in ancient times; Chapter 4 highlights the artistic characteristics of the lacquer arts of minorities represented by the Yi nationality, Tibetan nationality and Dai nationality and emphasizes modern technological processes through investigations on existing workshops. This part is characterized by text descriptions, charts and diagrams.3. Culture:the connotations in the aesthetic design of Yunnan lacquer art. Chapter 5 is the theoretical part of the whole paper. Starting with multicultural groups, this paper mainly discusses the design thoughts reflected in the artistic modalities of Yunnan lacquer art and dives deep into its aesthetic connotations that combine elegance and vulgarity, dexterity and clumsiness, and form and content in this art. In this chapter, the author believes that Yunnan lacquer art contains abundant design thoughts:the appearance design gives top priority to practicability, the design of decorative patterns highlights significant symbols and the color design manifests aesthetic judgments on nature. On this basis, Yunnan lacquer art demonstrates aesthetic implications different from other local lacquer arts. In terms of artistic style and aesthetic taste, Yunnan lacquer art does not follow orthodox ideas but advocates that the beauty lies in its popularization; as for artistic creation and aesthetic representation, Yunnan lacquer art is natural yet ingenious and prefers inventive minds to sophisticated skills; when it comes to artistic content and expression, Yunnan lacquer art properly balances content and form.4. Actual situation:the development orientation of Yunnan lacquer art. By closely linking to the reality, Chapter 6 discusses the modernity problem in the development of Yunnan lacquer art. The author summarizes the laws of lacquer art as an artistic activity, analyzes the causes for its development bottleneck and makes a position to this art on the basis of re-examining its development value. In this chapter, the author argues that lacquer art, as an activity of material producing, consists of the world, creator, user and work. These four elements are the fundamentals that affect the development of lacquer art. The development of modern lacquer art can be divided into industrial development and artistic development. Yunnan lacquer art should give priority to minority lacquer art, supplemented by pure lacquer art.Through a comprehensive study on Yunnan lacquer art, this paper draws the following three conclusions based on the four aspects above:1. Yunnan lacquer art has a complete history, without any discontinuity or sluggish development; 2. The source of Yunnan lacquer art came from ancient Shu culture and later it was influenced by Dian culture, Chu culture and Han culture; 3. The development history of Yunnan lacquer art is closely associated with that of the Yi nationality.
Keywords/Search Tags:Yunnan lacquer art, Development history, Artistic characteristics, Aesthetic design
PDF Full Text Request
Related items