Wang's article by Wang

Present situation of contemporary three-dimensional lacquer art creation

Author: Wang

Abstract: Lacquer art has both painting characteristics and three-dimensional characteristics in essence. Contemporary lacquer art moves from plane to three-dimensional, which represents the deep excavation of lacquer art cultural elements and the transformation from plane thinking to spatial thinking. It is an excellent example of the combination of modern modeling consciousness and traditional skills.

Keywords: three-dimensional lacquer art, lacquer art creation, spatial thinking

Lacquerware is an important civilization creation of Chinese civilization. Ancient cultural relics are almost unpainted. The initial purpose of painting is "quality", and then "honor". In the Ming and Qing Dynasties, the lacquer art in China developed to the degree of "various forms, but unrecognizable". This reflects the evolution trend of lacquer art from functional to artistic development.

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Raw lacquer is known as "the king of coatings". Its good physical properties make it almost possible to paint on the carcass made of common materials such as bamboo, wood, leather, tin, ceramics and stones. , combined with other materials can give full play to its excellent performance. Lacquer is a brown liquid, but once it is combined with other pigments, it can immediately show the brilliance of "letting a hundred flowers blossom"; Lacquer itself has no fixed shape, but once it is painted on various carcasses, it will immediately show a "changeable" look. Therefore, in essence, lacquer art has both painting characteristics and three-dimensional characteristics. It is precisely because of the perfect combination of painting characteristics and modeling that the great lacquer art in ancient China was achieved.

From the development process of lacquer art, it is an open system, which can accommodate and absorb various cultural factors and advanced techniques. From the ancient western regions, the technique of "Tomi painting" was introduced to the east, and then to the technique of "thin painting" inspired by the technique of "thin painting" in China. From the vigorous development of contemporary lacquer painting inspired by Vietnamese lacquer painting to the gradual emergence of various contemporary graphic art forms in lacquer art works, these examples show that the openness of lacquer art is the driving force for the continuous development and progress of lacquer art in China for thousands of years.

The development of modern lacquer painting in China has given new impetus to the ancient lacquer painting art, and the national art exhibition designated lacquer painting as an independent painting, which further promoted the rapid development of contemporary China lacquer painting. But it is precisely because of this that China's lacquer art creation gradually entered a state of pure planarization. Looking back on the lacquer art exchange activities with Japan and South Korea in 1980s and 1990s, almost all the works submitted by China are lacquer paintings, and there are few three-dimensional works. The painting features of contemporary lacquer art in China are infinitely magnified, but the three-dimensional features of lacquer art are ignored by most people. Japan and South Korea have always adhered to the route of combining traditional crafts with modern art, and basically maintained the balanced development of painting and three-dimensional lacquer art, which provided reference for our contemporary lacquer art.

Modern lacquer art should include lacquer painting art and three-dimensional lacquer modeling. Lacquer art, as a traditional art media, is also facing the modern transformation of traditional artistic concepts. There is a considerable thinking gap between the high-tech and inheritance of traditional lacquer art and the conceptual and intangible characteristics of contemporary art. The development of contemporary lacquer art to painting is at the expense of giving up the three-dimensional characteristics of lacquer art. How to find a balance between ancient artistic skills and modern artistic concepts requires more cultural consciousness and artistic wisdom.

China's contemporary three-dimensional lacquer art is gradually developed under the impetus of contemporary artistic thoughts. Three-dimensional lacquer art has become an academic hotspot of contemporary lacquer art in China. Many painters have realized the restriction of single plane thinking mode on lacquer art, and gradually began to explore the three-dimensional performance of lacquer art. Modern lacquer art in Japan and Korea has also inspired many domestic artists. Compared with traditional lacquerware, modern three-dimensional lacquerware art has traditional modeling methods, but the painting materials are more diverse. In the 10th National Art Exhibition and Art Design Exhibition, 1 piece of three-dimensional paint was selected, and1piece won the prize. In "From Hemudu-China Modern Lacquer Art Exhibition", three-dimensional lacquerware also became the protagonist. The return of three-dimensional lacquer art shows the new direction of lacquer art development in the future.

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The development of contemporary three-dimensional lacquer art in China is basically centered on universities. Due to the origin of skill inheritance and the influence of local cultural environment, a three-dimensional lacquer art group with certain regional characteristics has been formed.

Fujian is a strong province of traditional lacquer art in China, with a strong creative lineup. Fuzhou is the hometown of bodiless lacquerware, and the modeling method and painting method of bodiless lacquerware are the characteristic skills in traditional lacquer art in China, so lacquer artists from Fuzhou are often unique in three-dimensional modeling and painting techniques. Lacquer art education in Fujian started earlier and trained a large number of lacquer artists. Among them, Fuzhou Arts and Crafts School, founded in 1956, set up lacquer art specialty at the beginning of its establishment, and hired famous painters such as Li Zhiqing and Gao Xiuquan to teach lacquer art. The artistic practice and exploration of Li Zhiqing and Gao Xiuquan have been highly praised by their counterparts in the domestic lacquer industry. From 65438 to 0962, Mr. Wang personally led Mr. Wang and Mr. Qiao to study in Fuzhou, and Mr. Qiao went to Fuzhou to study lacquer art ten times. The lacquer art in Fuzhou played a great role in promoting the development of lacquer art in China. When Fujian Arts and Crafts School 1974 resumed classes, Mr. Wang, Mr. Wu Chuan, Mr. Zheng Liwei and Mr. Chen Wencan, then vice president, jointly founded the lacquer painting major of Fujian Arts and Crafts School. The establishment of lacquer art specialty in the two schools has greatly promoted the development of lacquer art in Fujian and even the whole country.

The Art Department of Minjiang College (formerly Fuzhou Arts and Crafts School) located in Fuzhou is the first department in China to start systematic three-dimensional lacquer art teaching. For a long time, three-dimensional lacquer art has been the academic focus of our school. My three-dimensional paint work, Daju, was created in 1999. The production of this series of works is a result of my years of exploring the three-dimensional teaching mode of lacquer art. At present, the lacquer art major in the Art Department of Minjiang University is the most active lacquer art group in Fuzhou, which has promoted the development of modern lacquer art in Fuzhou. At the same time, relying on Fujian Lacquer Culture Research Association and Fuzhou Lacquer Art Research Association, the College has strengthened its academic research on traditional lacquer art and has been committed to promoting the organic combination of traditional bodiless lacquer art and modern three-dimensional lacquer art.

The three-dimensional lacquer art in Beijing is centered on Tsinghua University Academy of Fine Arts (formerly the Central Academy of Arts and Crafts), and most artists who are engaged in the exploration and practice of three-dimensional lacquer art in Beijing have a certain relationship with this school. Mr. Qiao of this school was the leader of lacquer painting in China in 1960s. Under his influence, China's lacquer painting became an independent painting school in 1980s. Mr. Qiao has also made great contributions to the teaching support and theoretical exploration of three-dimensional lacquer art. In 2000, in the book "China Art Education Department Art Volume Lacquer Art" edited by him, Mr. Qiao officially called modern three-dimensional lacquer art "Lacquer Plastic", which corresponds to "Lacquer" and "Lacquer Painting", providing theoretical space for the development of modern three-dimensional lacquer art.

Young and middle-aged lacquer artists from Beijing, represented by Liang Yuan, have also been devoted to the exploration of three-dimensional lacquer art. Mr. Liang Yuan graduated from the Central Academy of Arts and Crafts, and his early works were deeply influenced by Mr. Qiao, pursuing the purity of material language and the full expression of lacquer techniques. In recent years, he boldly broke through the concepts of "vessel" and "technique" in his creative process, and quietly opened up his own green space in the field of three-dimensional creation of lacquer painting. In his works, he shows the high unity of traditional humanistic spirit and realistic concern, and the perfect harmony between traditional lacquer technology and modern creative concept. Liang Yuan's works are unique in the colorful field of modern art creation with their inclusive spiritual core and gentle and generous modeling personality.

Mr. Zhou Jianshi also graduated from the Central Academy of Arts and Crafts, and obtained a double master's degree in lacquer art from Tokyo University of Arts. Many years' teaching experience in Japan has made his creation more integrated with the tradition of "using" Japanese lacquer art. His works have many unique features in understanding the classical techniques of natural lacquer and the modeling of ancient lacquerware, as well as in the language expression of plastic arts, the combination of traditional modeling and modern comprehensive materials. The representative work "Zodiac Box" won the excellent work of the 10th National Art Exhibition and Art Design Exhibition.

Jiangsu's three-dimensional lacquer art creation is centered on Nanjing Art College. With the support of Mr. Bao Bin and Mr. Feng, lacquer art creation is very active. Mr. Tiger is the most outstanding painter in Jiangsu. He is a close disciple of Master Shen. Prior to this, he was an academic leader in lacquer art research and a doctoral supervisor in lacquer technology. He has been committed to the combination of lacquer art and space art, emphasizing the interaction between lacquer art and environmental art, and has created and designed many outdoor Qi Diao and many themed art furniture furnishings.

The development of Chongqing lacquer art, represented by sichuan fine arts institute, is inseparable from Mr. Shen's efforts. Mr. Shen studied under Mr. in Japan in his early years. After returning to China, he founded the lacquer art specialty in Chengdu Art Institute (the predecessor of sichuan fine arts institute) in the 1940s, which was the earliest lacquer art specialty established in colleges and universities in China. After the founding of the People's Republic of China, Chengdu Art College was renamed Southwest Art College and sichuan fine arts institute successively, but the lacquer specialty has continued to this day. Mr. Chen Enshen, a disciple of Mr. Shen, is one of the representative figures in China's three-dimensional painting creation. His works use cobblestones, white marble and other natural stones as tires, boldly use modern synthetic painting materials, and paint with unique expression methods such as "paving leaves", "sand accumulation" and "grey material thin plastic method", creating a rough and heavy ancient meaning like primitive fossils on the stone tires, reflecting.

The lacquer art in Guangdong is deeply influenced by Mr Cai Kezhen. In 1960s, Mr. Cai Kezhen studied lacquer painting in Hanoi, Vietnam, and set up lacquer art specialty in Guangzhou Academy of Fine Arts after returning to China. Before, most painters in Guangdong were engaged in lacquer painting. Mr. Chen Qinqun, former Secretary-General of the Lacquer Painting Art Committee of Guangdong Artists Association, is a diligent practitioner of three-dimensional lacquer art. His works have been trying to explore the magnificent and ancient atmosphere outside the gorgeous and exquisite traditional lacquer art. His representative works include Chaos, Solidification and Hope.

In addition to the above fields, painters in many parts of China are also trying the art of three-dimensional paint, and more artists will devote themselves to the creation of three-dimensional paint in the future. The artist's "every small creation has increased and opened up a new field of modeling, broadened the design idea, and at the same time let the viewer experience the inner vibration of this aesthetic rhythm, showing a creative charm."

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For the contemporary three-dimensional lacquer art, some people think that the contemporary lacquer art is a comprehensive material, and this view is very superficial. China's lacquer art has always been a synthesis of various materials, but this synthesis is not that synthesis. China has always had a deep understanding of materials. In his book "Examining Gong Ji in the Late Spring and Autumn Period", he put forward a simple concept of craftsman spirit: "Sometimes, the sky is full of vitality, the materials are exquisite, and the work is skillful. Combine these four, and then you will be fine. " In particular, the importance of material beauty to artistic effect is mentioned. In the Records of Shi Zhuan in the Ming Dynasty, Huang Cheng wrote: "Quality is human", and Yang Ming noted: "Bone, flesh, skin and tendons are as agile as gods, and fatness, thinness and beauty are the goals". Lacquer has always been a complex of various materials, with fetus as bone, gray paint as meat, cloth as rib and paint as skin. Ancient painters always regard lacquerware as a living object, and express their understanding of China's ancient aesthetic concept of modeling through lacquerware. Relatively speaking, the application of traditional coatings to various materials is more internal, while the application of modern materials is more intuitive. Contemporary lacquer art has greatly improved in materials, modeling techniques and painting techniques, which has promoted the transformation of lacquer painting techniques from plane to three-dimensional, from single material to multiple materials, from complex traditional techniques to more convenient techniques. It is these changes that make contemporary artists more free to pay attention to the expression of their artistic concepts, and are no longer limited by complex crafts. The development of contemporary lacquer art objectively broadens the vision of contemporary art in the use of materials and media.

The idea of "harmony between man and nature" runs through the whole China culture and is the deepest source of China traditional culture. The unique creative concept in the East regards all kinds of artworks as the products of the whole nature and environment. The change of contemporary lacquer art forms is closely related to the change of contemporary living environment. Lacquer art moves from indoor to outdoor, from plane special three-dimensional, from paying attention to the internal space of utensils to the external space formed by the environment, from playing in the closet to exhibiting in the exhibition hall. These changes are not only the change of contemporary cultural space, but also the change of artistic environment. Paying attention to the concept of space will inevitably promote the greater development space of contemporary three-dimensional lacquer art.

In a word, the modern characteristics of contemporary art are the product of ideas and concepts, not just the definition of time dimension. With the development of modern art, we must examine our contemporary lacquer art with a more open and abstract angle and a more vivid way of thinking. No matter from the balance of painting characteristics and three-dimensional characteristics of lacquer art, or from the ability to express the current cultural life, three-dimensional lacquer art will be the most promising direction of China lacquer art in the future.

[References]

(1) Wang Ren. Collation of Kuai. Beijing: Cultural Relics Publishing House, 1983. : 19.

(2) (America) S. Aglietti. The secret of creation [M]. Translated by Qian Gangnan. Shenyang: Liaoning People's Publishing House, 1987.

About the author:

Wang (1950-), male, Han nationality, from Shanghai. President of Fuzhou Arts and Crafts School, Director of the Art Department of Fujian Minjiang College.

Heredity and evolution

-Present production situation of contemporary three-dimensional lacquer art

beam

(Art Department of Minjiang University, Fuzhou, 350 108, China)

Abstract: The essential characteristics of lacquer art are painting and cube. Contemporary lacquer art moves from plane to three-dimensional, which reflects the in-depth exploration of lacquer art cultural factors and the transformation from plane thinking to three-dimensional thinking. This is a model of the combination of modern sculpture consciousness and traditional craft.

Keywords: stereoscopic lacquer art, lacquer art, present situation, stereoscopic thinking