Lacquerware Chemistry
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Inheritance, Protection and Innovative Development of China's Intangible Cultural Heritage—Carved Lacquerware
https://doi.org/10.37420/icaces.2020.031 Inheritance, Protection and Innovative Development of China's Intangible Cultural Heritage—Carved Lacquerware Desai Jiang, Yue Xu College of Arts, Guilin University of Technology, Guilin 541006, China Abstract: This paper studies the protection and inheritance of this precious China’s intangible cultural heritage from the aspects of carving lacquer technology, personnel training and innovation. Focusing on the protection of carving lacquer technology and the innovation in the design and production of carved lacquer handicrafts, it is proposed to protect the carving lacquer technology from three aspects which is intellectual property right, personnel training and raw material. In terms of technical innovation, the possibility of combining carved lacquer with various materials is studied and analyzed. Keywords: Carved lacquer; Arts and crafts; Lacquerware; Intangible cultural heritage 1 Introduction Carved lacquer is a unique category of arts and crafts in China. It can also be called Tihong, Tihuang,Tihei,Ticai and Tixi, because of its different colors. Among them, Beijing carved lacquerware is the most representative example, and has many quality products in the world. Carved lacquer has a long history. According to records, it can be traced back to the Tang Dynasty. The Yuan Dynasty carved lacquer gradually flourished, and the Ming and Qing Dynasties were its heyday of development. Carved lacquer handicrafts have won many awards in international expositions and earned a lot of foreign exchange for the country in special period. In 2006, carved lacquer was listed in the first batch of national intangible cultural heritage list in China. Unfortunately, since the 1990s, the carved lacquer industry has gradually shrunk, as the number of employees is extremely reduced and the trend is aging, cause the inheritance of skills has seriously broken down. -
Analysis of Artistic Characteristics of Chu Lacquerworks
2018 International Conference on Education, Management and Social Science (EMSS 2018) ISBN: 978-1-60595-554-4 Analysis of Artistic Characteristics of Chu Lacquerworks Han-Qing Ge Abstract: Chu lacquer has become the representative of lacquer art in the Warring States Period because of its variety and excellent production. This article elaborates its unique artistic features through the analysis of the selection, types and modeling arts, colors, decoration and other aspects of Chu lacquer ware. Keyword: Chu Lacquerware, Fetus, types and shapes, decorative techniques, patterns Chu State is a country with a long history and amazing color in Chinese history. During the Warring States period, only the Chu State could contend with the Qin State and there was a trend of being divided by the world with Qin. According to "Huainanzi • soldier slightly training" records, "South Juan Yuan Xiang, north around Ying Si, West Bao Ba Shu, East Huai Huai, Ying Ru thought , Jianghan that pool, Yuan to Deng Lin, cotton with Fangcheng, Chu's strong, the earth in public, in points world. "Thus, Chu territory was almost covered the entire southern region. At present, the construction of major provincial capital cities in central and southern China all have the credit of the Chu Kingdom. At the same time, the Chu culture has gradually infiltrated into various places. Most of the lacquer wares from the Warring States Period come from the Chu Tomb. During this period, the lacquer ware manufacturing industry entered an unprecedented prosperity stage. It is the first peak of the development of Chinese lacquer ware art. There are three reasons for this: First, Chu is located in a warm and humid subtropical region, 15 degrees Celsius temperature and 1100 mm rainfall, even if the production process of lacquer simplification, but also easy to form a high-quality film. -
Art at the Crossroads: Lacquer Painting in French Vietnam
126 Art at the Crossroads Art at the Crossroads: Lacquer Painting in French Vietnam Lisa Bixenstine Safford, Hiram College During the last phase of French occupation in Vietnam (1887–1954), a new and unique direction for pictorial arts was inaugurated that continues to inform the country’s art scene to this day.1 In a culture that lacked a developed painting tradition from which to draw inspiration, painting with lacquer formed a distinctive and novel medium that could be applied to fresh artistic subjects. In 1925 the arts first began to evolve rapidly thanks to the creation of the École Superieure de Beaux Arts d’Indochine, a new school in Hanoi that was founded by the relatively unknown French painters Victor Tardieu (1870– 1937) and Joseph Inguimberty (1896–1971).2 Together with other artists such as Nguyễn Vạn Thọ (1890–1973, better known as Nam Sơn), who was sent to Paris for a year of training in 1924 for his new post as an art instructor,3 they embarked on a mission civilisatrice to educate promising artisans (thợ vẽ) so that they would advance to the status of “artists” (hoạ sĩ) and subsequently sign their works as individual creators.4 The French colonial view that La France d’Asie possessed no distinctive artistic and cultural identity was central to the school’s inception.5 Thus, the school set about creating a new cultural identity that was grafted from a modernist French pictorial language of art. The students’ training in European artistic styles eventually merged with East Asian and indigenous wood-based, folk craft sources, the privileging of which can be read as a rejection of French style. -
50. Encountering Unexpected Challenges in Okinawan Lacquer
I II I I I I I I I I I I I I I Encountering Unexpected Challenges I in Okinawan Lacquer Conservaon 1 2 3 Anya Dani , Stephanie Spence , and Amaris Sturm 1Art Conservaon Program, Okinawa Ins-tute of Science and Technology; 2SUNY Buffalo State Art Conservaon Program; 3Winterthur/University of Delaware Program in Art Conservaon Abstract: Okinawa is known for its unique material culture, including lacquerware. As the southern-most Japanese prefecture, the Okinawan islands have a truly internaonal history involving links to China, Southeast Asia, mainland Japan, and the United States. In Japan, lacquerware has been tradi-onally conserved by highly trained conservators using urushi-based materials. We expected to see these types of repairs in Okinawan lacquer. However, we instead encountered a variety of deteriorang restoraons using synthe-c materials. We also frequently encountered flaking Hg lacquer and structural damage caused by exposure to Okinawa’s tropical environment. Here we highlight the study and Hg treatment of three 20th century lacquer objects from the Yomitan Museum of History & Folklore. We strove to develop an appropriate and culturally sensi-ve treatment philosophy; balancing our ethical boundaries and skill sets with the Japanese seng. Okinawan Lacquer Introduc2on: Okinawan lacquerware has been heavily influenced by lacquer from the Fujian Province of China.1 Okinawan lacquerware usually has a wooden substrate coated Fig 1: Kakubon, Red Lacquer, pXRF spectrum, 40kv 4.5µA with a water sensi-ve shitaji or ground layer, on top of which layers of urushi are applied. The use of red lacquer pigmented with cinnabar is widespread (Fig 1). -
HST Catalogue
170 1 LIST – – JAPANESE INTEREST H ANSHAN TANG B OOKS LTD Unit 3, Ashburton Centre 276 Cortis Road London SW 15 3 AY UK Tel (020) 8788 4464 Fax (020) 8780 1565 Int’l (+44 20) [email protected] www.hanshan.com 4 Boehm, Christian: THE CONCEPT OF DANZO. ‘Sandalwood Images’ in Japanese Buddhist Sculpture of the 8th to 14th Centuries. London, 2012. 264 pp. 165 colour and b/w illustrations. 29x21 cm. Boards. £59.95 A detailed study examining Japanese Buddhist sculpture known as Danzo (sandalwood images) and Dangan (portable sandalwood shrines) dating from the 8th to 14th centuries. Includes Chinese examples dating from the 6th to 13th centuries which were imported into Japan and which played a major role in the establishment of the indigenous Japanese danzo tradition. 28 Little, Stephen & Lewis, Edmund J: VIEW OF THE PINNACLE. Japanese Lacquer Writing Boxes: The Lewis Collection of Suzuribako. Honolulu, 2012. xxvii, 228 pp. Colour plates (many full page) throughout. 28x21 cm. Cloth. £80.00 A beautifully-illustrated and well-written study with detailed descriptions of over 80 suzuribako (writing boxes) dating from the 14th to 20th centuries from the fine collection of Edmund and Julia Lewis. Delicious. 31 Metropolitan Museum of Art: DESIGNING NATURE. The Rinpa Aesthetic in Japanese Art. New York, 2012. 215 pp. Colour plates throughout. 27x24 cm. Wrappers. £20.00 Catalogue of an exhibition at the Metropolitan Museum of Art in New York examining the Rinpa (Rimpa) aesthetic in Japanese art, celebrated for its bold rendering of natural motifs, references to literature and poetry and experimentation with calligraphy. -
UC GAIA Chen Schaberg CS5.5-Text.Indd
Idle Talk New PersPectives oN chiNese culture aNd society A series sponsored by the American Council of Learned Societies and made possible through a grant from the Chiang Ching-kuo Foundation for International Scholarly Exchange 1. Joan Judge and Hu Ying, eds., Beyond Exemplar Tales: Women’s Biography in Chinese History 2. David A. Palmer and Xun Liu, eds., Daoism in the Twentieth Century: Between Eternity and Modernity 3. Joshua A. Fogel, ed., The Role of Japan in Modern Chinese Art 4. Thomas S. Mullaney, James Leibold, Stéphane Gros, and Eric Vanden Bussche, eds., Critical Han Studies: The History, Representation, and Identity of China’s Majority 5. Jack W. Chen and David Schaberg, eds., Idle Talk: Gossip and Anecdote in Traditional China Idle Talk Gossip and Anecdote in Traditional China edited by Jack w. cheN aNd david schaberg Global, Area, and International Archive University of California Press berkeley los Angeles loNdoN The Global, Area, and International Archive (GAIA) is an initiative of the Institute of International Studies, University of California, Berkeley, in partnership with the University of California Press, the California Digital Library, and international research programs across the University of California system. University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. -
Diagnostic Study on a Lacquerware Cluster in Bagan and Nyaung-U
Diagnostic Study on a Lacquerware Cluster in Bagan and Nyaung-U, Myanmar JUNE 2014 This report has been prepared by Myanmar Business Development Consulting and Michele Boario, Tint Khine and Stephanie Promberger from UNIDO. Copyright © 2014 by the United Nations Industrial Development Organization (UNIDO) This document has been produced without formal United Nations editing. The designations employed and presentation of the material in this document do not imply the expression of any opinion whatsoever on the part of the Secretariat of the United Nations Industrial Development Organization concerning the legal status of any country, territory, city or area of its authorities, or concerning the de- limitation of its frontiers or boundaries or its economic system or degree of development. Designations such as “developed”, “indus- trialized” and “developing” are indeed for statistical convenience and do not necessarily express a judgment about the stage reached by a particular county or area in the development process. Mention of firm names or commercial production does not constitute any endorsement by UNIDO. 2 CONTENTS Acronyms .................................................................................................................................................... 3 I. Introduction ........................................................................................................................................ 4 A. Defining the cluster ..................................................................................................................... -
Chapter 12 a Pirate's View of the History of Art Commerce : Beyond an Oceanic View of Civilizations
Chapter 12 A Pirate's View of the History of Art Commerce : Beyond an Oceanic View of Civilizations 著者 INAGA Shigemi 会議概要（会議名, A Pirate’s View of World History : A Reversed 開催地, 会期, 主催 Perception of the Order of Things From a 者等） Global Perspective, 2016年4月27-29日, 国際日本 文化研究センター page range 107-125 year 2017-08-31 シリーズ 国際シンポジウム International Research Symposium 国際研究集会 ; 50 URL http://doi.org/10.15055/00006760 A Pirate’s View of the History of Art Commerce Chapter 12 A Pirate’s View of the History of Art Commerce: Beyond an Oceanic View of Civilizations 1 INAGA Shigemi 1. Redefining Piracy 1.1 The Battamon Disturbance Let’s begin with the battamon disturbance. In 2010, Okamoto Mitsuhiro’s “Battamon” series was exhibited at the Kobe Fashion Museum (fig.1). While the etymology of the term is uncertain, in Japan’s western Kansai region it refers to a product that is sold without going through authorized distribution routes. Batchimon, on the other hand, refers to a counterfeit or imitation item. In Japanese, batta also refers to grasshoppers (including locusts). With this in mind, Okamoto created migratory locusts clothed in leather from brand products. However, Louis Vuitton complained that this exhibit was equivalent to engaging in counterfeit sales, and it was halted. Tano Taiga engraved original bags out of wood with exactly the same pattern as those of Louis Vuitton, and it is said that a public museum had to hide their logo marks when they were put on display.2 The obstinacy of brand distributors not trying to understand jokes might invite contemptuous laughs. -
Denver Art Museum to Unveil Exquisite New Japanese Lacquerware Collection Assemblage Showcases 30 Striking Examples of Asia’S Richest Decorative Art Tradition
FOR IMMEDIATE RELEASE MEDIA CONTACTS: Tara Moberly 720-913-0079 Ashley Pritchard, 720-913-0096 Denver Art Museum to Unveil Exquisite New Japanese Lacquerware Collection Assemblage showcases 30 striking examples of Asia’s richest decorative art tradition (Denver, Colo.) –September 17, 2012 – The Denver Art Museum (DAM) will present a selection of lavish lacquerware pieces in All that Glistens: A Century of Japanese Lacquer, an exhibition opening November 18 that explores the lacquer-making process. From trays to screens to braziers, the intricately decorated artworks reveal the versatility of this ancient medium and demonstrate the changing styles and tastes of successive generations of artists. All That Glistens is included in general museum admission. “We are excited to showcase these newly acquired additions to the museum’s permanent collection,” said Ronald Otsuka, Dr. Joseph de Heer curator of Asian art at the DAM. “A sophisticated example of refined workmanship, this presentation provides a window into the Tsuishu Yōzei XX (Tsuishu Toyogorō), 1880 –1952, Incense Container creative process necessary to turn everyday objects into (kōgō) with Vine and Berries (sanekazura). Kyoto; Taishō period, about prized works of art. 1916–26. Lacquer. Denver Art Museum; Sam F. and Freda Davis Charitable Trust, 2011.282 Included in the display of 30 objects is a specially commissioned box that holds samples of raw lacquer as well as the tools and materials used by artists in its application. To demonstrate the intricacies of the lacquer-making process, the box conveys the extensive step-by-step procedure necessary to achieve the resulting extremely glossy finish. A dazzling cosmetic box featuring a floral scene of tiger lilies floating on a black lacquer backdrop and a pair of black hand-warmers adorned with rabbits are among the items in the exhibition, which was made possible by the generous support of the museum’s Volunteer Council and Asian Art Association. -
Silk Roads in History by Daniel C
The Silk Roads in History by daniel c. waugh here is an endless popular fascination with cultures and peoples, about whose identities we still know too the “Silk Roads,” the historic routes of eco- little. Many of the exchanges documented by archaeological nomic and cultural exchange across Eurasia. research were surely the result of contact between various The phrase in our own time has been used as ethnic or linguistic groups over time. The reader should keep a metaphor for Central Asian oil pipelines, and these qualifications in mind in reviewing the highlights from Tit is common advertising copy for the romantic exoticism of the history which follows. expensive adventure travel. One would think that, in the cen- tury and a third since the German geographer Ferdinand von Richthofen coined the term to describe what for him was a The Beginnings quite specific route of east-west trade some 2,000 years ago, there might be some consensus as to what and when the Silk Among the most exciting archaeological discoveries of the Roads were. Yet, as the Penn Museum exhibition of Silk Road 20th century were the frozen tombs of the nomadic pastoral- artifacts demonstrates, we are still learning about that history, ists who occupied the Altai mountain region around Pazyryk and many aspects of it are subject to vigorous scholarly debate. in southern Siberia in the middle of the 1st millennium BCE. Most today would agree that Richthofen’s original concept These horsemen have been identified with the Scythians who was too limited in that he was concerned first of all about the dominated the steppes from Eastern Europe to Mongolia. -
A Sanpan Shan Chariot Ornament and the Xiangrui Design in Western Han Art Author(S): Wu Hung Reviewed Work(S): Source: Archives of Asian Art, Vol
A Sanpan Shan Chariot Ornament and the Xiangrui Design in Western Han Art Author(s): Wu Hung Reviewed work(s): Source: Archives of Asian Art, Vol. 37 (1984), pp. 38-59 Published by: University of Hawai'i Press for the Asia Society Stable URL: http://www.jstor.org/stable/20111143 . Accessed: 19/12/2011 18:10 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Hawai'i Press and Asia Society are collaborating with JSTOR to digitize, preserve and extend access to Archives of Asian Art. http://www.jstor.org A Sanpan Shan Chariot Ornament and the Xiangrui Design inWestern Han Art Wu Hung Harvard University THE DATE AND THE OWNER In 1965 the cultural relics team of Hebei province a in the People's Republic of China excavated three This chariot ornament belonged to set of chariot at was a large tombs Sanpan Shan,a Dingxianb county. fittings and used to join the handle of canopy in a With the advance of the Cultural Revolution to carriage.6 From pertinent archaeological evi the following year, however, the unearthed mate dence and relevant historical documents, we can were un a rials along with the relevant records left derive fairly clear idea of the date and place of its a attended in provincial storeroom to gather dust. -
Urushi-E Is an Urushi-Based Painting. the Term Applies Much the Same Way That the Term “Oil Painting” Describes the Use of Oil-Based Paints
“Independence of Urushi-e” Urushi-e is an Urushi-based painting. The term applies much the same way that the term “oil painting” describes the use of oil-based paints. The reason for declaring the “independence of Urushi-e” arises from the common perception that craft-oriented maki-e, or a sprinkled picture decoration, comes to one’s mind when the term Urushi-e is mentioned. This is simply because there have been hardly any Urushi-e artworks in the past. If examined further, one can find Urushi-e in its pure form among the fine arts, but such artworks have not succeeded in enhancing the advantages of Urushi when compared to inkbrush artworks painted on paper and silk materials. I had sixteen pieces of my Urushi-e artworks exhibited for four days at the Japan Industrial Club, beginning on November 11 (1934). The exhibit was a summation of a decade of my work. It is uncertain whether the exhibit will trigger a sensation in the artistic future in Japan, however, I feel confident about the positive feedback I’ve received. My creative works stand as artworks in an independent field. The following descriptions outline the uniqueness of my work while making comparisons to techniques in other fields of artistic endeavor. It is particularly appropriate that Urushi-e has its origin in Japan. Urushi-e has great potential to grow as a form of fine art, given its rich local characteristics. As widely known, Urushi is a product only seen in Asia, and today Japan still produces the highest-quality Urushi.