Lacquer art is not the mainstream of the collection, because of which reasons?

Lacquer art is not the mainstream of the collection because of many reasons. Lacquer art originated in China. According to Han Fei Zi Ten Articles, lacquer began to be used in China during the period of Yu Shun. After the development of Spring and Autumn and Warring States, the two Han, Yuan and Ming dynasties, lacquer craft reached its peak in the Qing Dynasty. Lacquerware was very popular in the Qing Dynasty palaces and circulated well in Japan. Japanese lacquerware craftsmanship is so exquisite that, because of the spirit of reverence for lacquerware, every family is proud to own a lacquer bowl and the government has taken appropriate protective measures. In Japan, the inheritance of lacquer art is still mainly family inheritance, inherited the exquisite and advanced traditional craft, but it affects the speed of development of lacquer art, which is currently in a period of shrinkage.

It is understood that the ancient lacquerware pay attention to "100 miles a knife a lacquer two lacquer". This means you have to walk 100 miles and cut the lacquer tree 1,000 times to get one or two. During the production process, you must go through hundreds of procedures such as tires, water mounting, pushing the light, and adjusting the original lacquer. The process is known for being tedious, with more than 20 large processes, from selecting materials, molding the embryo, trimming and decorating to the finished product, and it's also very time-consuming to make and shade, so it often takes months for a piece of equipment to come into the factory, and the finished product needs to be sealed in a shade room for even longer.

In recent years, lacquer art has been gradually revived in China, but it is still in the minority. "Traditional crafts are so far removed from the modern era that they seem outdated to modern aesthetics." Ye Zhihao tries to incorporate emotional and fashionable elements into the material aspects of traditional lacquer forms and techniques. He believes that the most important thing in promoting lacquerware technology is to win the attention and acceptance of the market. Perhaps this is a way to integrate lacquerware technology into everyday life. "People aren't interested in it until they use it."

As far as collecting is concerned, there is still arguably a void of contemporary lacquer works, even in international collections of contemporary lacquer art. "The collection is still in its infancy and there is a lot of room for appreciation." Ye Zhihao revealed. So how should one collect lacquerware to recognize it? Ye Zhihao suggested that the value of art works should not be measured by time, nor should it return to the essence of the artistic value of the work itself. "Currently, some lacquer paintings are very expensive because they take a long time to produce, but it is difficult to get a response in the market." Before collecting lacquer, we first need to understand the culture of lacquer. We need to look back at the history and understand the connotations of the craft. Secondly, how the artist utilizes the artistic concept and the artistic content of the work itself.