Aesthetics Research In Han Lacquer

This article will base on the Non material cultural heritage position, and on Han Dynasty lacquer as the research object to the Han Dynasty lacquer art aesthetics from the perspective of evolutionary development by the means of historical and logical, image and significance, literature and archaeology, a multidimensional approach, trying to outline the Han Dynasty lacquer art aesthetics foundation base, construction, photorefractive, recombination and steering evolution trace and the law, in order to seek the Han Dynasty lacquer craft esthetics thought and the handicraft culture, and for the revival of traditional craftsmanship and modern technology and culture revitalization development provides a practical and theoretical reference model.This paper argues that the Han Dynasty lacquer art aesthetics evolution path that initial foundation of the early years of the Western Han Dynasty, independent development and construction of Middle Western Han Dynasty, photorefractive and peak of the late Western Han Dynasty, recombines with steering in the Eastern Han Dynasty. The early Western Han Dynasty that is the Han Dynasty lacquer art esthetics thought foundation and the initial stage of development from Gaozhu emperor to Jingdi emperor for about60years. At this time, lacquer art aesthetic ideology basically follows the Han for the Qin system development rule, with simple and practical aesthetics is the keystone to the compliance to treatment, wide design principles, in order to Chu wind romantic style, show at the beginning of the Chinese technological thought in the social political and economic "with civilian rest" position of evolution with the development, especially at the beginning of the Chinese bronze abdicated and lacquer rise, fully embodies the Han Dynasty lacquer art aesthetics of evolutionary principles: use and disuse. To the middle of Han Dynasty, namely on the three generation of the Wu, Zhao, Xuan, is the Han Dynasty lacquer art aesthetics towards independence development prosperous stage, at this time, lacquer art aesthetic thoughts in the middle Western Han Dynasty began under the social development achievements, and gradually from life technology to practical art of lacquer art aesthetics, to beauty thought as the keynote, in the Fatian Xiangdi posing principle and Chongwen and Shangshi, Shencheng Xiongda character construction of maturity and prosperity, especially government management and technology of lacquer political power, be this period technology aesthetics characteristic. To the later period of the Western Han Dynasty, from the emperor to Wang Mang in the new period of about60years, the Han Dynasty lacquer art aesthetic thoughts in the development of the evolutionary meaning of mutation, and reached the top peak, its development is characterized by decorative wind to aristocratic Road, lacquer to the pursuit of harassment of decoration, even at the time of Northwest China and Southwest National lacquer also in cultural evolution achieved his mutation, in the gorgeously wrought- colourfully and dazzlingly embellished beauty of Han Dynasty lacquer art aesthetics interpretation. But the history of about200years, lacquer art aesthetics gradually decline and steering, Han Dynasty lacquer development encounters religious seclusion, also encounter to use this art criticism, and in dry lacquer paint like green heavy paint Xuanmo wind in the pursuit of another, especially in lacquer ware was green porcelain replace sb. In Han Dynasty lacquer art, reflecting the aesthetic thought of yet other evolutionary principles:survival of the fittest.The Han Dynasty lacquer art aesthetics of progressive evolution of evolution analysis, this paper argues that the Han Dynasty lacquer art aesthetics law of evolution and development process has characteristics. First, Han Dynasty lacquer art aesthetics evolution of the common law is followed by the Han Dynasty political, economic, cultural and religious context of the times, especially the aesthetic mainstream ideology. Secondly,Han Dynasty lacquer art aesthetics evolution tells us:lacquer art is art between crafts and design; lacquer of Tao is the life; the beauty is daily and civil beauty. Han Dynasty lacquer art aesthetics has strong national characteristics, and penetrate into the everyday life in every corner. Thirdly, the Han Dynasty lacquer art aesthetics evolution of the power source is the process of body consciousness, technology, National Central myth image narrative power as well as the Confucianism thought progressive development. Body consciousness is relative to the lacquer for all body functions, the mythical narrative is directed to lacquer ornamentation aesthetic design, the central powers from lacquer production and management system and service object and spread out, Confucianism thought development is based on the lacquer ware form behind the cultural significance point of view. That is to say, the Han Dynasty lacquer art aesthetics development power is the basis of functional, aesthetic, lacquer production and management, service object and form meaning perspective, display paint process practical functions and aesthetic significance., the Han Dynasty lacquer art aesthetics evolution of the conservative gene, such as the Han Dynasty lacquer art aesthetics of design character is very obvious. Han Dynasty lacquer craft design compliance to treatment is wide, beauty, Guitianjudi, natural health, to use wait for character, and they commonly reflect the creation of design aesthetics of the highest pursuit. The compliance to treatment is wide Han Dynasty lacquer design basic principle, beauty is a Han Dynasty lacquer art design style, Guitianjudi is a Han Dynasty lacquer design principle of natural health statues, Han Dynasty lacquer design aesthetics of the subject of law, use is the Han Dynasty lacquer design function principle. Fourthly, the Han Dynasty lacquer art aesthetics history present dimension, namely the Han Dynasty lacquer art aesthetics has important position in history and the profound historical influence. Han Dynasty lacquer art in the Han Dynasty, Han Dynasty lacquer art in various interactive aesthetics, aesthetics of Han Dynasty lacquer spread outside the benefits of life and the Han Dynasty lacquer art aesthetic ideology influence shows its unique aesthetic charm of thought. Fourthly, the Han Dynasty lacquer art aesthetics of contemporary social play, namely Han Dynasty lacquer art aesthetics in contemporary watch. In a word,The Han Dynasty lacquer craft is the Han people seek the inherent Chinese wind attitude that is the wisdom of craftsman dexterous hands, the authorities and the local special local technology development, also gave the Han Dynasty lacquer art aesthetic features, but also guarantee the Han Dynasty lacquer art aesthetic ideology of health and beauty, fully shows the ancient Chinese is an innovative nation. Its aesthetic thought is a generation after generation of skilled craftsmen of the crystallization of the wisdom and sweat, it is the upper society, lifestyle and aesthetic taste of the product.In the Han Dynasty lacquer art on the basis of the study, this paper presents the process characteristics of lacquer, lacquer industry advantage, lacquer art aesthetic ideal, lacquer and lacquer of the social responsibility of contemporary decline and rejuvenation of major issues such as, how to carry on the traditional culture and innovative culture has an important guiding significance We believe that:the traditional lacquer art life and value is not depleted,, lacquer art in the contemporary ecological position of play at least in terms of energy, environment, life, aesthetics and other aspects charge into the enemy ranks for social development and make unique contributions.