Oriental Implication In Fujian Lacquer Painting Works

From my point of view,the author tries to sort out the oriental connotation Implied by lacquer paintings of Fujian Province,tracing its origin,the oriental lacquer cultural character had been highlighted,that is to say : it's visual symbols had been emphasized,or appeal for material characteristics,highlight cultural symbols,pursue historical imprints,or seize the background of the times.Traditional lacquer art is different in time,place,talent and creation.To understand the specific inherence of traditional lacquer art,it is necessary to study and experience its cultural context.China is the first country to know and to use lacquer in the world.Since the development of the red lacquer bowl of Hemudu culture,it has carried too much derivation,development and sustenance of our nation and recorded the understanding of lives and a better life of the Chinese nation.As a new form of painting,lacquer painting has made unprecedented development in the past decades,making its eastern implication more full and unique,Which has a very promising prospect.Up to now,the earliest modern lacquer painting That was originally found in China in China is "Elephant Plough Picture" by Mr.Yeshan Wu of Zhao'an of Fujian Province.It was created in 1929.Yeshan Wu was recognized as the first pioneer of modern lacquer painting by the lacquer painting art committee of the Chinese Artists Association.Authoritative experts In this field also gave a very high appraisal to him,because the appearance of Yeshan Wu's lacquer painting "Elephant Plough Picture" has promoted the recognition of the history of modern lacquer painting art to a new height-Chinese modern lacquer painting has an earlier source.Lacquer painting decoration with lacquer ware has existed for more than 7,000 years.But as an an independent painting,it has only experienced several decades.It can be said that lacquer painting is is both "old" and "young" form of art.It is because the development of contemporary lacquer painting as an independent type of painting is still short,theoretical research relative to other mature paintings,there is room for induction and improvement.At present,lacquer painting uses clearer artistic language to express the new features and new trends of this era,which means that the innovative thinking and creative methods of lacquer painting haveundergone fundamental changes.In this paper,the author mainly focuses on lacquer works of Fujian artists',and analyses the preservation of traditional skills,concept change,material innovation and other aspects to explore the eastern implications of their works.Starting from the development of contemporary lacquer painting in China and the regional expressive characteristics of contemporary lacquer painting in China,this paper takes lacquer painting in north-eastern,south-western and South-eastern of China as an example,analyses the causes of formation of lacquer painting regional style from the perspective of geographical environment and humanistic environment,and then enters the main part of the thesis to analyze the artistic expressive force,linguistic charm and contemporary Fujian lacquer painting.In the lacquer painting works,the choice of oriental connotation theme is studied,and a large number of lacquer paintings with oriental connotation created by Fujian contemporary lacquer artists are excavated and sorted out.Lacquer's Oriental aesthetic characteristics and Chinese spirit are the continuation of the excellent traditional Chinese context,with broad artistic development prospects,and show a strong state of development,which is worthy of studying.