A Study On The Lacquerware Of The Warring States,Qin And Han Dynasties In Huaihe River Basin

The Warring States,Qin and Han Dynasties were the peak of the development of Chinese lacquerware.At this time,the Huaihe River Basin had a splendid lacquer culture.Not only was the variety of utensils rich,the shape was complex,the craftsmanship of body-making and painting was also superb,which has high research value.This paper takes the lacquerware in the Warring States,Qin and Han Dynasties in the Huaihe River Basin as the research object,using typology,chronology,and iconography to conduct a comprehensive study on the lacquerware types,combinations,bodies,paintings,evolution,and spatial distribution.There are four chapters in this paper.The first and second chapters are the typological analysis of the lacquerware in the Warring States,the Qin and Han Dynasties in the Huaihe River Basin,and the research on the chronology.Through the typological analysis of typical wares such as lacquer box,lacquer pot,lacquer ear cup,lacquer plate,lacquer table,etc,the evolution clues and coexistence relationship of the wares are clarified and divided into Six periods and thirteen groups.Therefore,combining the chronological materials from some tombs and the relics with strong time scales such as bronze mirrors,coins,and typical utensils,the unearthed lacquerware is divided into the middle and late Warring States period,the late Warring States period,the late Warring States period,and the late Warring States period.From the latter part to the Qin,early Western Han Dynasty,the early middle part of the Western Han Dynasty,the early late part of the Western Han Dynasty,the middle part of the Western Han Dynasty,the middle part of the Western Han Dynasty,the middle and late part of the Western Han Dynasty,the early part of the Western Han Dynasty,the late part of the Western Han Dynasty,the Xinmang period to the early Eastern Han Dynasty,a total of Six periods and thirteen paragraphs.The third chapter is about the craftsmanship of body-making and decoration of lacquerware in the Warring States,Qin and Han Dynasties in the Huaihe River Basin.It is believed that the lacquer bodies have developed from wooden to bodiless,ceramic,leather,and yarn.And the body-making process is constantly innovating and improving.The overall development path is"from single to rich","from heavy to light",and"from conservative to innovative".Regarding the painting craftsmanship and patterns of lacquer ware,it shows stage and development.In the painting,besides inheriting the craftsmanship of Shang and Zhou dynasties,such as depiction,oil painting,embossing,and lacquer,the Western Han Dynasty also innovated the methods of depicting gold and silver,relief,cone painting,and embedding gold and silver.Lacquerware has a rich variety of patterns,divided into three layouts:specific patterns,center patterns,and circular patterns.The pattern style has evolved from the abstract and exaggerated in the Warring States period to the concrete and realistic after the Western Han Dynasty.The fourth chapter focuses on the evolution of lacquerware,its causes,and the characteristics of temporal and spatial distribution and other related issues.The development of lacquerware in the Warring States,the Qin and Han Dynasties in the Huaihe River Basin experienced a fluctuating process.From less unearthed in the early Warring States period,it experienced the development from the middle and late Warring States period to the early Western Han Dynasty.It reached its peak in the middle and late Western Han Dynasty,and then began to decline.It even almost disappeared.Exploring the reasons for its prosperity and decline is closely related to factors such as social changes,the development of productivity,the decline of bronzes,the rise of porcelain,and social customs.In addition,the distribution of lacquerware in the four regions of northern Jiangsu,northern Anhui,southern Shandong,and southern Henan is uneven,and the center of gravity is gradually shifting eastward.This is closely related to the eastward movement of the Chu capital and the eastward movement of Chu culture.