Research On The Redesign Of Dafang Lacquer Of Craft

Guizhou Dafang is surrounded by mountains and relatively closed in geographical environment.Due to its unique geographical environment,multi-ethnic cultural characteristics have been formed and unique regional culture of Guizhou has also been created.Also because of this unique geographical environment and the external environment in constant change and innovation,but there is no strong influence to the local arts and crafts culture in guizhou,also keep the nature of cultural development elements,and with strong form local cultural features of regionality and ethnicity,constitute a part of non-material culture in China.Dafang lacquerware in Bijie,Guizhou Province is a prominent representative of local arts and crafts.The historical development of Dafang lacquerware since the Ming and Qing Dynasties is still continued in modern times and retains its unique ethnic culture and traditional craft techniques.However,in the modern society with rapid changes in market,economy and culture,the innovative development of Dafang lacquerware has become a problem to be discussed at present.The thesis is mainly divided into seven chapters:The first chapter is the introduction,which mainly introduces the background of the topic selection,research status,including the current situation at home and abroad,research ideas,methods,as well as the key difficulties and innovation points of the research.The second chapter is the historical development and production process of Dafang lacquerware,which is divided into two parts.The first part is the historical development of Dafang lacquerware,which is divided into the geographical environment and historical development process of Dafang.The second part is the production process introduction,mainly from the lacquer making,embryo embryo,ash,paint,decoration of these five process steps to introduce in detail the production technology of Dafang Lacquer.The third chapter is the aesthetic art of Dafang leather-born lacquerware,which is divided into three parts,namely color aesthetic,pattern aesthetic and product aesthetic.Color aesthetic is divided into the expression and application of the traditional three colors of red,yellow and black of Dafang ancient Yi ethnic group.The pattern aesthetics is summarized from the pattern of traditional lacquerware as nature pattern,life pattern,plant pattern,animal pattern,and other patterns.The product aesthetic of the third part includes the aesthetic of ancient lacquerware products of Dafang and modern products.The ancient products mainly focus on bowls,plates,basins,plumes and other products,while the modern products mainly focus on vases,small round boxes,and other handicraft ornaments.The fourth chapter is the development status and predicament of Dafang Lacquer,which is divided into three parts,including the development status,development predicament and inheritance problems.The first part elaborates the transformation of the production mode of generous lacquerware in the new millennium as well as the number and market share of the market production units.The second part elaborates the development predicament of Dafang Lacquer,mainly from five aspects: market reason,lack of talent and technology,low product quality,product aesthetics and marketing to elaborate the problems encountered in the development.The third part is about the inheritance of Dafang Lacquerware.It mainly elaborates the protection and inheritance of handicrafts from the perspective of the government’s relevant policies to protect the intangible cultural heritage.The fifth chapter is the redesign of the leather-foiled lacquerware,which is divided into two parts,namely the essentials of the redesign of the leather-foiled lacquerware and the redesign attempt of the leather-foiled lacquerware.In the design key points of leather-fodied lacquerware,the redesign is combined with regional culture and the practical redesign of modern life products,and the redesign cases of the A continent seal and the Gotto are given as reflections.In the sixth chapter,the author tries to re-design,combining the lacquerware technology with modern products,and tries to design three kinds of products,namely,the lacquerware brooch and the lampshade,and elaborates the design and production process of the three products.The seventh chapter is the conclusion,which mainly summarizes that the protection of ethnic handicraft needs development and innovation,and needs everyone who loves this art.