Journal articles on the topic 'Lacquer art'
To see the other types of publications on this topic, follow the link: Lacquer art.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Lacquer art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Lavrov, D. E. "Russian Lacquer Crafts During the Great Patriotic War." Modern History of Russia 11, no. 2 (2021): 475–88. http://dx.doi.org/10.21638/11701/spbu24.2021.211.
Full textAbstract:
The history of The Great Patriotic War, which was the greatest test for Russia in the 20th century and whose 75th anniversary was celebrated in 2020, contains many topics that have not been well studied. One such topic is the activity of Russian folk crafts during wartime, among which the lacquered miniatures of Palekh, Mstyora, Kholui, and Fedoskino occupy a special place. This article provides one of the first complex studies of the economic, social, and artistic activities of all four centers of Russian lacquers during the war. In addition to information about the contribution of artists and residents of these villages to victory, the article reveals the main events and results of the development of Russian lacquer crafts during the war. These include exhibition activity and work of local art schools, the activities of artists in propaganda, and lacquered miniatures. Further, the article explores the state purchase orders and work of miniaturists for private purchases, the field of state regulation in folk art, and the loss of life suffered by villages. Special attention is paid to gender-related processes in Russian crafts, as well as support measures that the Soviet state provided to folk art during the war. The author concludes that the Great Patriotic War, despite losses and difficulties, became a time of development for the lacquer crafts in Russia, ensuring their subsequent development in the post-war years.
2
Liang, Lei. "Brief Analysis of the Lacquer Art Application Value for Indoor Environment Art Design." Applied Mechanics and Materials 587-589 (July 2014): 480–83. http://dx.doi.org/10.4028/www.scientific.net/amm.587-589.480.
Full textAbstract:
Since ancient time till now, the lacquer art was accepted by thousands of households via decoration of curio shelves. Nowadays the lacquer art is merged into people’s daily life, as it can not only decorate our environmental art, but also apply lively lacquer language to beautify people’s vision and actual living space, even represent the essence of Chinese traditional culture furthermore. This paper, based upon physical property of lacquer art that embodies its intrinsic decoration function, introduces the application value of lacquer art used for environment art in fields of the space function classification of lacquer screen to the environmental protection, decoration of lacquer art as well as the inherent aesthetic appreciation interest in detail.
3
Van Minh, Nguyen. "Overview of the history of painting and lacquer art in Vietnam." Arts & Humanities Open Access Journal 5, no. 1 (February 8, 2023): 47–53. http://dx.doi.org/10.15406/ahoaj.2023.05.00185.
Full textAbstract:
Traditional Vietnamese lacquer is recognized through professional and historical forms. First of all, decorative painted relics, associated with religious beliefs, have served in spiritual life through worshiping items in pagodas, temples, communal houses, and palaces. Architectural columns and horizontal lacquered board are applied in hammocks, couplets, animism, four holy creatures, flowers of the four seasons, eight precious items of Buddhism, Baguio, palanquin, hammock, long communal house, worshipping paintings, decorative paintings... Especially Vietnamese lacquer painting through actual labor, practical works, research, and application of traditional techniques in the artistic creation of artists, has formed the appearance of traditional Vietnamese lacquer art in the past over the course of more than two thousand years of history.
4
BEREZINA, Elizaveta. "Lacquered History: Soviet Crafts and Problematic Memory of the Communist Past." Martor. The Museum of the Romanian Peasant Anthropology Review 26 (2021): 47–54. http://dx.doi.org/10.57225/martor.2021.26.03.
Full textAbstract:
The paper questions the ethics of displaying lacquer miniatures representing the Soviet past drawing on the example of an exhibition and publishing project Russian History: The Twentieth Century in Lacquer Miniature undertaken by the All-Russian Museum of Decorative, Applied and Folk Art (Moscow). In November 2017, almost 300 lacquer miniatures were displayed to commemorate the centenary of the Russian Revolution and other upheavals of the twentieth century. While recognizing the efforts of the curators to introduce the imagery of lacquer painting into the actual discussion on the communist past, I argue that the project irons out the controversial nature of the Soviet regime and literally “lacquers” history. I criticize the project for (1) using lacquer miniatures merely as illustrations of the historical events; (2) ignoring political, economic and cultural conditions of imagery making; (3) evading discussion of the problematic past. The review suggests questions to be asked about the representation of history in lacquer miniatures that could help museum curators working with Soviet imagery in crafts.
5
Lin, Xiaojuan. "Fujian Lacquer Art: Xiamen lacquer line carving art and inheritance protection research." Highlights in Art and Design 2, no. 2 (March 20, 2023): 49–53. http://dx.doi.org/10.54097/hiaad.v2i2.6159.
Full textAbstract:
Lacquer line carving is an excellent treasure of folk arts and crafts created in the long history of Chinese lacquer art culture. Xiamen lacquer line carving continues the excellent traditional spirit of China and is a specimen of folk culture history in southern Fujian. With the advent of the "intangible cultural heritage" upsurge, Xiamen lacquer line carving has gradually been paid attention to, and at the same time, it has promoted the spread of southern Fujian folk culture. The cultural value, historical value, economic value, artistic value, craft value, etc. reflected behind Xiamen lacquer line carving are all worthy of further in-depth study. Only the combination of inheritance, innovation and market is the most effective way of inheritance protection.
6
Fan, Kuo-Kuang, Xue-Hui Li, and Meng-Jia Lu. "Sustainability Research on Promoting the Inheritance of Lacquer Art Based on the E-learning Mode—Case Study of the Popularization of Lacquer Art Education in Primary Schools in Guangzhou Area." Sustainability 12, no. 6 (March 12, 2020): 2195. http://dx.doi.org/10.3390/su12062195.
Full textAbstract:
This paper investigates the sustainable inheritance of contemporary lacquer art in the Guangzhou area. Based on the traditional teaching mode dominated by folk inheritance and university education, this paper develops the advantage of contemporary information technology and proposes the application of the e-learning mode to assist the popularization of lacquer art education in society, which plays a positive role in promoting the sustainable development of the lacquer art culture in Guangzhou. This study adopts literature analysis and the questionnaire survey method, and then integrates this learning mode into the lacquer art learning curriculum in primary schools. Finally, this paper summarizes and reflects on the teaching results, and presents the effective role of this model in promoting the teaching of lacquer art culture, which is of important practical significance for consolidating the sustainable development of contemporary lacquer art culture.
7
Cheng, Lingyun. "Research on the Discrepancy and blending of Lacquer Ceramic Art." Journal of Education, Humanities and Social Sciences 21 (November 15, 2023): 280–88. http://dx.doi.org/10.54097/ehss.v21i.14017.
Full textAbstract:
The rich historical use of lacquer in China and the enduring tradition of Oriental pottery have laid the foundation for preserving traditional handicrafts. This research seeks to uncover the cultural significance of lacquer items and innovative pottery, delving into their artistic elements to preserve their cultural essence. By examining the interaction between lacquer and pottery within an artistic framework and exploring the expert fusion of lacquer craftsmanship, this study provides valuable insights to foster the contemporary growth of traditional craft design. The research findings demonstrate that a precise integration of design elements inspired by the aesthetic qualities of lacquer artifacts into lacquer products effectively conveys cultural heritage in the present era. The design process for creative products evolves through the innovative amalgamation of lacquer and ceramic techniques, resulting in the creation of unique lacquer and ceramic pieces. The primary goal of this study is to inspire emerging designers to contribute to the ongoing innovative development of lacquer pottery products.
8
Song, Xiaoting, Yongzhong Yang, Ruo Yang, and Mohsin Shafi. "Keeping Watch on Intangible Cultural Heritage: Live Transmission and Sustainable Development of Chinese Lacquer Art." Sustainability 11, no. 14 (July 16, 2019): 3868. http://dx.doi.org/10.3390/su11143868.
Full textAbstract:
Countries all over the world have been constantly exploring ways to rescue and protect intangible cultural heritage. While learning from other countries’ protection measures, the Chinese government is also constantly exploring ways that conform to China’s national conditions. As China’s first batch of intangible cultural heritage, lacquer art boasts a brilliant history, but many people are not familiar with it today. Moreover, in the process of modernization, the lacquer art transmission is declining day by day, and it is facing unprecedented major crises such as loss and division of history into periods. Hence, it is essential to verify and reveal the challenges and dilemmas in the lacquer art transmission, and come up with corresponding protection measures around these problems. First of all, this research, through literature review, “horizontally” explores the current research status and the universal problems of lacquer art transmission from the macro level. With a view to make up for the deficiencies of the existing research and further supplement the empirical evidence, the current research, with the transmission of “Chengdu lacquer art” as an example and through in-depth interviews, tracks and investigates the whole process of transmission of Chengdu Lacquer Art Training Institute, and “vertically” analyzes the survival situation of lacquer art transmission and the core problems affecting transmission behaviors from the micro level. In the final conclusion, the research comes up with corresponding countermeasures and suggestions for the identified key problems, which is of significant reference value for facilitating the live transmission and sustainable development of Chinese lacquer art.
9
CHEN, Yipin. "Inheritance and innovation in lacquer painting teaching." Region - Educational Research and Reviews 5, no. 5 (December 13, 2023): 27. http://dx.doi.org/10.32629/rerr.v5i5.1433.
Full textAbstract:
Lacquer painting is an important school in the traditional painting art of our country, which has a long history and a unique artistic expression form. As an ancient and unique art form, lacquer painting has always carried the treasures of traditional culture and historical memory. However, with the progress of the times and the development of society, the teaching of lacquer painting is facing the dual challenges of inheritance and innovation. Especially, in the teaching of lacquer painting in colleges and universities, excessive emphasis is placed on craft techniques and theories, as well as the "painting flavor" of lacquer painting, while ignoring the expression of the creator's spirit and the innovation of the times. Strengthening the inheritance and innovation of lacquer painting has been widely valued. This paper aims to explore how to innovate on the basis of inheritance and realize the sustainable development of lacquer painting art.
10
Bincsik, Monika. "European collectors and Japanese merchants of lacquer in ‘Old Japan’." Journal of the History of Collections 20, no. 2 (August 5, 2008): 217–36. http://dx.doi.org/10.1093/jhc/fhn013.
Full textAbstract:
Abstract During the Meiji period, following the opening of Japan's borders to foreign trade, not only did the Japanese lacquer trading system and the market undergo a marked change but so too did almost all the factors affecting collecting activities: the European reception of the aesthetics and history of Japanese lacquer art, the taste of the collectors, the structure of private collections, the systematization of museum collections, along with changes in the art canon in the second half of the nineteenth century. The patterns of collecting Japanese lacquer art in the second half of the nineteenth century cannot be understood in depth without discussing shortly its preliminaries in the seventeenth and eighteenth centuries, focusing also on the art historical reception of Japanese lacquer in Europe. Supplementary material relating to this article in the form of a list of dealers and distributors of lacquer in Japan during the Meiji period (1868–1912) is available online.
11
Ye, Zhihao, and Xinyun Jiao. "Contemporary Art on Realistic Subjects in the New Era of Lacquer Painting." Asian Journal of Social Science Studies 7, no. 7 (August 1, 2022): 75. http://dx.doi.org/10.20849/ajsss.v7i7.1249.
Full textAbstract:
By using lacquer painting creation with realistic themes as an example, this essay will examine the primary issues with lacquer painting creation with realistic themes in the context of the modern period.It will summarize the key pathways and construction expansion choices for lacquer painting creation with realistic themes by analyzing the creative issues and traits of lacquer painting with realistic themes, and it will provide the future path perspective that may be supported.Modern lacquer paintings with realistic topics suffer from a loss of pictoriality, a weakening of pictoriality, and a lack of aesthetic merit. Lack of creative integrity and originality; little aesthetic effect; lack of a modern viewpoint or historical significance. It is clear that there is a “tendency to profit,” and commercialization results in repetition and homogenization. A few representative lacquer paintings and artworks have been examined by the author.By emphasizing the incorporation of styles from other forms of painting and increasing the lacquer painting’s creative expressive language, the author offers answers.The development of lacquer paintings with realistic subjects in the context of the new period is suggested as well as workable solutions.
12
Li, Jie. "A Comparative Aesthetics Analysis on Song Dynasty Lacquer Dish in the Form of Plum Blossoms with a Red-brushed Pattern of Two Phoenixes." Communications in Humanities Research 8, no. 1 (October 31, 2023): 148–53. http://dx.doi.org/10.54254/2753-7064/8/20230987.
Full textAbstract:
The Chinese artcraft in Song and Ming Dynasty set a standard that is understood as both unique and influential. Through comparative research, the lacquered Artcraft in East Asia and Europe would provide a holistic view of how Chinese lacquer art craft transferred through dynasties. Two Chinese crafts, Ming Yongle red-painted tea flower round plate and the Song dynasty Lacquer dish in the form of plum blossoms with a red-brushed pattern of two phoenixes are illustrated. It then presents a gilt-bronze inlaid lacquer vessel from France in the reign of Louis XV, made by the Japanese and European Lacquer Bureau, and one can see the great difference between it and the two previous ones made in China. It is inlaid on the top surface with figures, carriages, and horses, as well as with figures of mountains, rocks, and trees, with most of the figures concentrated on the left side, while the right side is left relatively empty of white space. It is argued that from several aspects, the comparison is worthwhile.
13
Cheng, Lingyun. "Study on the modeling expression and innovative practice in the creation of modern lacquer pottery." Journal of Education, Humanities and Social Sciences 11 (April 20, 2023): 187–93. http://dx.doi.org/10.54097/ehss.v11i.7624.
Full textAbstract:
Modern lacquer pottery art has undergone a process from single to diversified, rough to refined, simple to complex, and practical to aesthetic with the change of history and the progress of technology, and from the initial simple coating and protection to the modern brilliant development of pure art form development process. This paper explores the origins and cultural genes of lacquer pottery, and elaborates the special aesthetics of the collision and fusion of lacquer and ceramics from multiple angles of the cultural embodiment characteristics of modern lacquer pottery, in order to provide reference and reference for the research in related fields.
14
Sun, Fuliang, and Wei Shu. "Research on the Innovative Approach of Intergrowth of Xipi Lacquer Art in Huizhou and Modern Product Design." E3S Web of Conferences 179 (2020): 02069. http://dx.doi.org/10.1051/e3sconf/202017902069.
Full textAbstract:
Xipi Lacquer Art in Huizhou was once well-known all over China with the brilliant Huizhou merchants and it was once also annihilated in the river of long history. The surface of Huizhou Xipi Lacquer Art is so bright that it can serve as a mirror, and the swirling, complicated and changing patterns endow it with mysterious and gorgeous beauty. In modern times, since the technique of Huizhou Xipi Lacquer Art recovered all that was lost, its special aesthetic sense of beauty and the craftsman’s pursuit of superlative craftsmanship have led to the increasing emphasis on the objects produced by it for people to appreciate. This deviates from the public’s demand for stable quality and economic utility, and it is difficult to integrate into the consumer market. In this paper, through the in-depth analysis of the history and context of Huizhou Xipi Lacquer Art, the author combines with the theory of contemporary product design to explore the advantages and disadvantages of Huizhou Xipi Lacquer Art into modern product design. Besides, the author uses the scientific research method to find a breakthrough for the two symbiosis and concludes the approach to realize the innovation and development of the excellent traditional technology in the era of science and technology.
15
Zhang, Haotian, Chuanqi Gu, Xiaohua Chen, Anqi Cheng, and Chaolin Li. "Feasibility of Digital Economy Enabling Sustainable Development of Yangzhou Lacquer Art." Journal of Education and Educational Research 1, no. 1 (November 1, 2022): 54–57. http://dx.doi.org/10.54097/jeer.v1i1.2286.
Full textAbstract:
In recent years, the integration of digital economy and traditional handicraft industry has enabled the inheritance and innovation of traditional handicraft industry. This paper explores the sustainable development of Yangzhou lacquer art. Combining the case of transformation and upgrading of intangible cultural heritage industry enabled by the digital economy, it proposes a feasible plan for the sustainable development of Yangzhou lacquer art enabled by the digital economy, that is, to update the inheritance mode, expand the market, update the theme, expand the influence, learn from foreign advanced experience, and promote the development of lacquer art industry with the help of the digital economy.
16
Wei, Ping. "Emotional Cognitive Expression in Lacquer Colors Based on Prior Knowledge." Journal of Environmental and Public Health 2022 (August 30, 2022): 1–10. http://dx.doi.org/10.1155/2022/1151676.
Full textAbstract:
Since lacquer painting first appeared in the world of art, research into it has grown steadily. People have developed a keen interest in modern lacquer painting as a result of the extensive study of lacquer culture in both domestic and international academic circles. Many artists and art enthusiasts have contributed significantly to the study and research of lacquer painting and have made helpful attempts at modern lacquer painting. But it is challenging to describe the emotion that a lacquer painting’s color conveys. This paper presents a decision-making framework for emotional cognitive learning based on the theory of emotional cognitive evaluation because there are relatively few researchers who have specifically studied the relationship between the creation of lacquer paintings and emotions and because there are also few research materials and documents for reference. The assessment of an emotional state is the central component of this framework. The observation module in the model framework is used to gather the emotional data that the lacquer painting expresses. The issue of emotional expression in lacquer painting is resolved by the emotional evaluation system, which combines the preprocessed information with prior knowledge to evaluate. The importance of affective cognitive expression in lacquer painting and the necessity of affective computing in the fields of machine learning and decision control is obtained on the basis of discussing the research status and content of affective cognition and affective computing. The efficiency of expression was increased by 1.3 percent as a result.
17
Lavrov, Dmitrii Evgen'evich. "P. D. Bazhenov, I. K. Balakin, V. A. Belov – the artists-innovators in Russian lacquer crafts of the XX century." Человек и культура, no. 2 (February 2021): 38–50. http://dx.doi.org/10.25136/2409-8744.2021.2.32765.
Full textAbstract:
The subject of this research is the analysis of works of the three prominent artists of various Russian manufacturing centers of lacquer miniatures of the XX century – P. D. Bazhenov (Palekh), I. K. Balakin (Mstyora), V. A. Belov (Kholuy). The goal of this article consists in the attempt to create a “comparative biography" of the artists of various lacquer crafts, as well as demonstrate fruitful work of the miniaturist-innovator in different fields of art that are not a part of the traditional folk art. Among the manifestations of such innovation, the author indicates that the listed miniature artists found themselves in other fields of fine art, such as easel paintings, stage performance, posters, caricatures. The application of biographical method of research allows focusing attention on experimentation and innovation as the key feature that unites all three masters of lacquer crafts: P. D. Bazhenov in Palekh (1930s), I. K. Balakin in Mstyora (1940s – 1950s), V. A. Belov in Kholuy (1960s – 1970s). The scientific novelty lies in studying the practices of implementation of peculiarities of the aforementioned types of art in the works of lacquer miniatures. The main conclusion consists in the fundamental provision on justification of the artistic pursuit by any artist of folk art, which was oppugned during the Soviet period of the history of Russian folk art.
18
Fan, Kuo-Kuang, and Xue-Hui Li. "Taking Lacquer as a Mirror, Expressing Morality via Implements: A Study of Confucian Ritual Spirituality and the Concept of Consumption in the Ming and Qing Dynasties." Religions 11, no. 9 (September 1, 2020): 447. http://dx.doi.org/10.3390/rel11090447.
Full textAbstract:
The periods of the Ming and Qing dynasties featured prosperous socioeconomic development; the development of industrial, commercial, and manufacturing production; and active urban consumer behavior with great advocacy for the doctrines of Confucius and Mencius in the imperial court, and extensive promotion of refined elegance of benevolence, righteousness, ritual, and wisdom among the public. Under the influence of such an objective environment, lacquerware, as China’s most ancient traditional form of artwork, also functioned as significant historical evidence for the development of the urban handicraft industry. Assuming a social role between ritual items and daily items, the development of lacquer arts was closely bound up with Confucian ritual spirituality. Based on relevant cultural relic data and documents in the literature, this study takes lacquer as a mirror with regard to the progress of the trend of lacquer culture and lacquer art during the Ming and Qing dynasties as the clue, and analyzes the embodied features of lacquer art design function, modeling, and themes to discuss the influence of Confucian ritual spirituality on social consumption.
19
Schiessl, Stefan, Esra Kucukpinar, Noémie Rivollier, Horst-Christian Langowski, and Peter Eisner. "A Comparative Study on the Roll-to-Roll Processing of a Silicate–Polyvinyl Alcohol Composite Barrier Lacquer Using Slot-Die and Reverse Gravure Coating Techniques." Polymers 15, no. 13 (June 21, 2023): 2761. http://dx.doi.org/10.3390/polym15132761.
Full textAbstract:
The integration of platelet-shaped montmorillonite particles to improve the oxygen barrier of polyvinyl-alcohol-based barrier layers is state-of-the-art, but research on roll-to-roll coatings of such composite barrier lacquers has not been widely published. In this study, two different coating techniques, slot-die and reverse gravure, were used on a roll-to-roll scale to apply barrier lacquers comprising polyvinyl alcohol and montmorillonite. The lacquers were analyzed regarding viscosity at certain shear rates and surface energy and the dried coating layers regarding oxygen barrier, surface morphology, and particle orientation. Low permeability coefficients delivering a high oxygen barrier of 0.14 and 0.12 cm3 (STP) 1 μmm2 d bar were achieved for the coating layers with slot-die and reverse gravure coating, respectively. It turned out that the properties of the barrier lacquer need to be adjusted to the coating technique to achieve high oxygen barrier performance. By tailoring the barrier lacquer formulation, the orientation of the platelet-shaped montmorillonite particles can be achieved using both techniques. A low solid content of down to 3 wt% is preferable for the premetered slot-die coating, because it results in low agglomeration quantity in the coating layer. A high solid content of up to 9 wt% is preferable for the self-metered reverse gravure coating to assure a homogeneously coated layer.
20
Gozheva, Natalia A. "“Lord of the Gold Turtle”, or The Myanmar Lacquers’ Inscriptions from the State Museum of Oriental Art Collection." Oriental Courier, no. 3 (2023): 180. http://dx.doi.org/10.18254/s268684310028132-3.
Full textAbstract:
Features of the peculiar “lacquer epigraphy” of Myanmar, i. e. lacquer inscriptions are considered in the paper on examples of artworks from the collection of the State Museum of Oriental Art. The appearance of inscriptions in lacquer art, called pan-yun in Myanmar, dates to the ancient tradition of accompanying cult monuments with donor texts, which was largely associated with the Buddhist idea of acquiring merit that affects a person’s future life. In the medieval period, lacquerware’s inscriptions were applied mainly to religious objects, and only in the 20th century did they become traditional in the domestic sphere as well. The “lacquer epigraphy” contains good wishes, comments on pictorial narratives, messages about the traditional and high quality of products, the place of manufacture, the name of the workshop, customer, or master, and less often, the date of production. An analysis of the inscriptions leads the author to the conclusion that, overall, they remain within the Buddhist paradigm of accumulating and passing on religious merit.
21
Lavrov, Dmitrii Evgen'evich. "Exhibition activity of the art crafts of the Msterskaya and Kholuyskaya lacquer miniatures in the 1930s." Культура и искусство, no. 3 (March 2023): 1–8. http://dx.doi.org/10.7256/2454-0625.2023.3.36694.
Full textAbstract:
The subject of this study is the analysis of the exhibition activities of the Msterskaya and Kholuyskaya artels of lacquer miniature in the 1930s - the period of the origin and formation of these famous crafts of Russian folk culture. The purpose of this article is to show the beneficial role of the Soviet state in the development of folk art by the example of the participation of these crafts in Soviet and foreign exhibition projects. The author compares the events of the 1930s with the state of lacquer crafts in modern Russia and suggests using the Soviet experience of informational and organizational assistance to lacquer miniature crafts to overcome their current state of crisis. Using the method of comparative analysis, as well as the historical and systematic method of research, the author shows the success of the exhibition practices of the Msterskaya and Kholuiskaya artels in the 1930s, as well as the support provided to lacquer crafts by the state authorities of the USSR. The scientific novelty of the study consists in an attempt to overcome the prevailing view of the current crisis state of Russian lacquer crafts as a result of only insufficient "innovative" leadership on the ground. The author's position is that the reason for such a crisis state should be sought, first of all, in the general situation of the lack of real support for Russian lacquer crafts from the state, which is the main conclusion of the article.
22
Cheng, Lingyun. "A study of the intersectionality and contemporary translation of lacquer pottery art." Journal of Education, Humanities and Social Sciences 13 (May 11, 2023): 1–11. http://dx.doi.org/10.54097/ehss.v13i.7847.
Full textAbstract:
Material is the basis of creation, it is the means and the end. With the progress of technology, the times have given materials a new artistic language, and the comprehensive use of multiple materials is presented in the art world, each with a unique texture and touch, giving people a different association of thoughts and feelings. Through an in-depth analysis of the historical and traditional background of the two materials, the tension of material expression, and the interplay between the two processes of lacquer and ceramic materials, the possibilities of interpretation from traditional lacquer and ceramics, based on an understanding of tradition, the combination of traditional lacquer and ceramics is experienced from the perspective of contemporary cultural confidence, and is important to reflect the value of contemporary transcreation.
23
Chen, Yu Shu. "Application of Chinese Lacquer Art in New Cultural Furniture Design." Advanced Materials Research 338 (September 2011): 124–29. http://dx.doi.org/10.4028/www.scientific.net/amr.338.124.
Full textAbstract:
This paper is intended to explore a new method which the tradional lacuqer art is applied in contemporary furniture. The new furniture is called as new cultural furniture. It is full of the sense of the times as well as the Eastern taste. By practicing, the three principles, which infuse the lacquer art with a new life, are concluded. They are the modular design of the lacquer decoration, the modernization of techniques, and the judicious choice of patterns and images in accordance with the taste of the times.
24
Jiang, Xuejie, Siti Norlizaiha Harun, and Linyu Liu. "Explainable Artificial Intelligence for Ancient Architecture and Lacquer Art." Buildings 13, no. 5 (May 4, 2023): 1213. http://dx.doi.org/10.3390/buildings13051213.
Full textAbstract:
This research investigates the use of explainable artificial intelligence (XAI) in ancient architecture and lacquer art. The aim is to create accurate and interpretable models to reveal these cultural artefacts’ underlying design principles and techniques. To achieve this, machine learning and data-driven techniques are employed, which provide new insights into their construction and preservation. The study emphasises the importance of transparent and trustworthy AI systems, which can enhance the reliability and credibility of the results. The developed model outperforms CNN-based emotion recognition and random forest models in all four evaluation metrics, achieving an impressive accuracy of 92%. This research demonstrates the potential of XAI to support the study and conservation of ancient architecture and lacquer art, opening up new avenues for interdisciplinary research and collaboration.
25
Lavrov, Dmitrii Evgen'evich. "Exhibition activity of the Palekh lacquer miniature craft (1945-1989)." Человек и культура, no. 5 (May 2022): 117–25. http://dx.doi.org/10.25136/2409-8744.2022.5.36910.
Full textAbstract:
The study is a continuation of the article "Exhibition activity of the Palekh lacquer miniature craft (1923-1939)", published in the scientific journal "Man and Culture". The subject of the proposed work is an analysis of the exhibition activity of the Palekh lacquer craft in the post-war period, limited to the second half of the 1940s and the end of the 1980s. The purpose of the article is to use historical, typological and structural research methods, as well as a historical and systematic approach, to show the specifics of this period in the history of the exhibition activity of the Palekh craft. Emphasizing the continuity of the exhibition activities of the 1940s - 1980s with the pre–war period, the author at the same time points out the new features that appear in the exhibition practices of the craft in the post-war period. The scientific novelty of the research consists in the fact that the author analyzes the most important art shows of the Soviet Union, where the products of the Palekh lacquer miniature were exhibited in the 1940s – 1980s. The article pays special attention to the activities of the State Museum of Palekh Art, which after its opening in 1935 became an important exhibition center for lacquer craft products, personal, retrospective, thematic and traveling exhibitions are considered. The main conclusion of the article is the substantiation of the importance of the considered topic for understanding the public recognition and fame that the Palekh lacquer miniature craft acquired in the late Soviet period, as well as in the post-Soviet period.
26
Van Minh, Nguyen. "Materials and arts of expression in traditional Vietnamese lacquer." Arts & Humanities Open Access Journal 5, no. 1 (February 9, 2023): 55–57. http://dx.doi.org/10.15406/ahoaj.2023.05.00186.
Full textAbstract:
The material of traditional lacquer is Son Ta (“Ta”: paint lacquer). Son Ta material, with its preeminent features in terms of reason, is also a deep and warm "feeling". The art of expressing the beauty of the material in the work is also a firm and profound grasp of the specific characteristics and techniques of the material, making the material an irreplaceable element of the work. On the contrary, with the structure of the work through his visual language, the artist must affirm that only that material, only, conveys the voice of the image and techniques expressed in the work. In other words, the material is the content, and the art of expression is the form of the work. The content determines the form and orientation of the chosen form and conveys the language of expression. And vice versa, the form reflects the content, revealing and clarifying the content in the best and most effective way. This is a dialectical and interactive relationship. It is this relationship that makes up the whole of the work in traditional Vietnamese lacquer.
27
Lavrov, Dmitrii Evgen'evich. "Palekh lacquer miniature fishing in the 1980s: on the eve of the disaster." Человек и культура, no. 4 (April 2022): 57–64. http://dx.doi.org/10.25136/2409-8744.2022.4.36650.
Full textAbstract:
The subject of the study is the analysis of the ways of development of the Palekh lacquer miniature fishery in the 1980s - the last decade of the Soviet period, which also became the last relatively prosperous time of the development of the fishery itself. Special attention in the article is paid to the analysis of the so–called Palekh "split" - the destruction of the unified organization of the Palekh art and production workshops, which followed in 1989 and ended the Soviet period in the history of the Palekh craft. The purpose of the article is to characterize the state in which one of the most prosperous Soviet crafts of folk art – the famous craft of the Palekh lacquer miniature – entered the tragic era of the 1990s. The scientific novelty of the study consists in an attempt to comprehensively study the late stage of the history of the Palekh lacquer craft in the 1980s, which also makes it possible to realize the problems of its modern crisis situation. Using the historical and systematic method, as well as the method of comparative analysis, the author of the study comes to the conclusion that the 1980s (before the "split" of 1989) became, like the previous decades of the history of the Palekh lacquer miniature fishery (despite some individual costs), the time of its progressive development, and the main reason for the collapse the financial disagreements of its participants became a single organization of the fishery in 1989.
28
Lin, Xiao-hua, Yun-Juan Liu, Wei-Yin, and Zhen-Zheng. "The Visual Expression of lacquer Art and Ceramic Art on Clothing Accessories." Journal of Physics: Conference Series 1790, no. 1 (February 1, 2021): 012017. http://dx.doi.org/10.1088/1742-6596/1790/1/012017.
Full text
29
Ye, Jing, and Chen Zhang. "Research on the Application of Chaozhou Gold Lacquered Wood Carving 'Shrimp and Crab Basket' in Traditional Architectural Design." Transactions on Social Science, Education and Humanities Research 4 (March 12, 2024): 25–31. http://dx.doi.org/10.62051/xkj4s376.
Full textAbstract:
Chaozhou gold lacquered wood carving, as an outstanding representative of traditional Chinese crafts, holds a unique position in the field of traditional Chinese architectural art due to its exquisite craftsmanship and profound cultural heritage. This paper focuses on the 'Shrimp and Crab Basket' element, showcasing its significant achievements at both technical and cultural levels. Through in-depth literature research and investigation of lacquer craftsmanship, this study explores the historical background and craft characteristics of Chaozhou gold lacquered wood carving, with a particular emphasis on the importance of the 'Shrimp and Crab Basket' in this tradition. The paper also examines the unique features of Chaozhou traditional architectural decorative art, providing a rich context for understanding the application of the 'Shrimp and Crab Basket' in the field of architecture. It specifically analyzes examples of the 'Shrimp and Crab Basket' in various traditional Chaozhou buildings, revealing its functional and symbolic significance in architectural design and discussing how to innovate artistically while respecting tradition. Ultimately, the paper summarizes the important role of the 'Shrimp and Crab Basket' in traditional Chaozhou architectural design and looks forward to its potential applications in future architectural design. This research not only deepens the understanding of Chaozhou gold lacquered wood carving art but also offers a new perspective on the application of traditional crafts in modern architectural design.
30
Zanegina, A. B., V. K. Smolenskaya, and E. N. Leventseva. "Rural life in the art of Palekh lacquer miniature." Zemleustrojstvo, kadastr i monitoring zemel' (Land management, cadastre and land monitoring), no. 9 (September 1, 2020): 18–23. http://dx.doi.org/10.33920/sel-4-2009-02.
Full textAbstract:
The article offers the analysis of the art of Palekh lacquer miniature, a phenomenon unique in the nature of the material, in the strength of the images, and in the methods of creating an artistic object that turns into a jewel and in which the epic beginning peculiar to folklore is strongly expressed. The specific examples of rural life, glorifying the beauty of working on land are presented in this type of art. In addition, the authors underline the necessity to preserve the identity of traditional crafts that are closely related to peasant life.
31
Stolyarova, E. G., A. V. Knyazeva, and A. V. Davydov. "ARTISTIC FEATURES OF RUSSIAN VACQUERY MINIATURE CRAFTS IN MODERN DECORATIVE ARTS AND DESIGN." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 26, no. 94 (2024): 101–6. http://dx.doi.org/10.37313/2413-9645-2024-26-94-101-106.
Full textAbstract:
This article examines the Russian crafts of lacquer miniature painting in the context of the manifestation of their artistic features in modern decorative and applied arts and design. The authors’ goal is to identify stylistic techniques of Russian varnishes and analyze the possibilities of using authentic characteristics of folk art in the author’s design of design objects and decorative arts. The article presents the general and specific in the visual arts and technologies of Fedoskino, Palekh, Kholuy and Mstera. It has been determined that Fedoskino has the artistic features of realistic oil painting, and Palekh, Kholui and Mstera, formed on the basis of icon painting, acquired the features of conventionally decorative painting with tempera paints. The article lists the specific artistic features of each of the declared crafts of lacquer miniatures. The authors come to the conclusion that the original Russian traditions of folk painting have recognizable traditions that have developed over decades, which may represent an “artistic code” of Russian culture. Using the wealth of artistic expressiveness of lacquer miniatures in our country, the opportunity has been formed to create modern works of art with decoding the source of inspiration in the process of designing new products of design and applied creativity.
32
Selwadiya, Sejal, Soma A. Mishra, and Kavya Trivedi. "REVIVING ART FORMS OF NIRONA-THROUGH ARCHITECTURE." International Journal of Research -GRANTHAALAYAH 6, no. 10 (October 31, 2018): 176–86. http://dx.doi.org/10.29121/granthaalayah.v6.i10.2018.1176.
Full textAbstract:
This research is subjected to the documentation of Nirona, in Kutch, Gujarat. Nirona is web of various art forms- Rogan painting, copper bell, lacquer art, leather art, Weaving, practiced at one place, making it culturally very rich. Though it is blessed with a bunch of art forms, it is still facing survival problems. Thus, it is getting at the verge of extinction. This research aims at documenting these art forms and understanding the reason behind its declination. Also, architectural contributions for their survival and upliftment are analyzed and based on that new suggestions are made.
33
Kawamura, Yayoi, and Ana García Barrios. "Influence of Japanese Namban Lacquer in New Spain, Focusing on Enconchado Furniture." Heritage 7, no. 3 (March 11, 2024): 1472–95. http://dx.doi.org/10.3390/heritage7030071.
Full textAbstract:
This work studies one type of artistic production from the Viceroyalty of New Spain during the second half of the seventeenth century and the beginning of the following century. Furniture decorated with the technique of enconchado is studied to point out the influence of Namban lacquer as well as the relationship with enconchado painting, a better known and studied corpus than furniture, and also its link to Mexican lacquer, maque. The identification and study of three pieces of furniture that feature the enconchado technique, and a cross, probably decorated with maque, offer a complementary vision of the art of enconchado and allow us to consider enconchado furniture an independent artistic genre.
34
Zhou, Ke, Mengqi Liu, and Qinchuan Zhan. "From Lacquer Painting to Kintsukuroi: A Rheological Study of Kintsukuroi." Highlights in Art and Design 2, no. 3 (May 3, 2023): 49–52. http://dx.doi.org/10.54097/hiaad.v2i3.7996.
Full textAbstract:
The word “Kintsukuroi” originated from Japan, but its origin is traced back to the traditional Chinese art of repairing ancient artifacts - lacquer painting. The repair technique not only has a long history in China, but also has influenced the formation and development of artifact repair in many countries and regions in the world. Based on the perspective of intangible cultural heritage, this paper analyzes and studies the ancient Chinese traditional lacquer calligraphist by sorting out the evolution of the Kintsukuroi process. At the same time, under the background of cultural confidence, this paper also continuously enhances the spiritual cohesion of the Chinese nation, and promotes the revival and inheritance of Chinese traditional craftsmanship.
35
Vadhanabhu, Narit, Kittisan Sriruksa, and Preechawut Apirating. "Gilt Lacquer Art in Luang Prabang: History and Cultural Diffusion." Journal of Engineering and Applied Sciences 14, no. 8 (December 31, 2019): 2553–58. http://dx.doi.org/10.36478/jeasci.2019.2553.2558.
Full text
36
Yu, Sukyung. "Production and Consumption of Coromandel Lacquer Screens in the 17th and 18th Centuries." Korean Journal of Art History 312 (December 31, 2021): 75–108. http://dx.doi.org/10.31065/kjah.312.202112.003.
Full textAbstract:
Coromandel lacquer screen is a Chinese folding screen made from the 17th century to 19th century in China. The screen is usually about 250cm high, 600cm width and consisting of twelve panels. Although these screens were made in China during the Qing dynasty, they received their name from India’s Coromandel coast, where they were transshipped to Europe in the late 17th and early 18th centuries by merchants of the English and Dutch East India companies. The Dutch traders carried these screens from Bantam in Java, and in early accounts they were frequently called Bantam screens as well as Coromandel screens. This paper examines Coromandel lacquer screen's art historical significance in the incising global interaction and consumer culture in the 17th and 18th centuries. It first discusses historical and cultural background of production in China which have been little known about. The primary sources focus on the record of <i>Xiu Shi lu</i>, the 16th century book about lacquer, and the inscriptions left on the screens. They will give information about when the screens were produced, what was the purpose of them, and the technique of decoratively incising lacquer and adding polychrome to the voids, called <i>kuan cai</i> in Chinese. The lacquer screen features a continuous scene run through all twelve panels, just like a hand-scroll painting with variety of colours. The prominent subjects for decoration are human figures, landscape and bird-and-flower. The narrative theme with human figures, such as Birthday Reception for General Guo Ziyi and the World of Immortals were shaped by literature or play. Also, the parallels between the lacquer screens and the paintings on the same theme are found. The scenes with Europeans are rare but bring various interpretations within the historical context of the time. The landscape themes, such as the Scenes of Lake Xihu and the Nine Bend in Mountain Wuyi, were depicted famous scenic spots in China. The composition and expression of the screens were probably inspired by landscape woodblock prints, it’s because the technique of lacquer screen and woodblock cutting are similar. Lastly, bird-and-flower theme has a long tradition of wishing longevity, happiness and peace in one’s life and produced in various medium. Thanks to the enormous progress in navigation and discovered sea roots in the 16th century, Dutch and England East India Companies imported quantities of Chinese lacquerworks in the 17th century. As Chinoiserie gain popularity all over Europe, Chinese objects were consumed in various ways. Imported Coromandel lacquer screens were incorporated into European interiors. They were cut into a number of panels, which mounted within wood paneling on walls and inserted into contemporary furniture. The lacquer screen also inspired European’s imitation of Asian lacquer known by a variety of names. This paper surveys Coromandel lacquer screen’s domestic production, exploding consumption and global conquest from the 17th century to 18th centuries, when the screen was explosively made. The lacquer screen is an active participant in cross-cultural interaction, not merely a passive commodity of china. Investigating the material culture of the lacquer screen, it was originally created in chinese domestic background concerned with social prestige, in Europe, consumed to show off exotic luxury and triggered a new stylistic changes in chinoiserie.
37
Lavrov, Dmitrii Evgen'evich. "Exhibition activity of the Palekh lacquer miniature craft (1923-1939)." Человек и культура, no. 4 (April 2022): 36–45. http://dx.doi.org/10.25136/2409-8744.2022.4.36873.
Full textAbstract:
The article is devoted to the analysis of the exhibition activity of the masters of the Palekh lacquer miniature. The author has chosen as a chronological period the first fifteen years of the existence of this fishery – from its inception in the first half of the 1920s to the beginning of the Second World War. The subject of the study, therefore, is an analysis of the exhibition practices of the Palekh art craft of the pre-war period (1923-1939). The article shows the importance of the exhibition activity of the Palekh lacquer craft at all stages of this brief, but nevertheless extremely eventful period. The purpose of the article is to show the importance that the exhibition activity had for the success and public recognition of Palekh as a new and quickly became the most famous lacquer craft in Russia. The scientific novelty of the article consists in the fact that, using historical-typological and structural research methods, as well as a historical-systematic approach, the author analyzes the most important domestic and foreign shows of the 1920s - 1930s, at which the products of the Palekh lacquer miniature were exhibited. The author emphasizes an important circumstance: the very formation and strengthening of the Palekh lacquer miniature craft in the first half and mid-1920s was caused precisely by the success of the prototypes exhibited at the largest exhibitions of that time, such as the All-Russian Exhibition of 1923 in Moscow, as well as the International Exhibition in Paris of 1925. At the same time, it is shown that Palekh's products continued to be successful at the shows (the exhibition "10 years of October" in 1927, the Soviet Exhibition in New York in 1928, the International Exhibition in Paris in 1937 and many other exhibitions analyzed in the article). Thus, it is the justification of the success of the exhibition activity of the Palekh lacquer miniature craft as an important factor of its public recognition that is the main conclusion of the article.
38
邓, 俊. "Traditional Lacquer Art Is Used in the Design of Luxury Bags." Design 06, no. 02 (2021): 24–30. http://dx.doi.org/10.12677/design.2021.62005.
Full text
39
Xiao, Yu-Meng, Jin-Shan Shen, and Chih-Long Lin. "Exploring on the Extraction of Attributes of Lacquer Art Fashion Products." Creative Education 15, no. 04 (2024): 617–42. http://dx.doi.org/10.4236/ce.2024.154038.
Full text
40
Lavrov, Dmitrii Evgen'evich. "The works of artists of the Palekh lacquer miniature craft in the field of design of theatrical productions of the 1930s - 1970s (Palekh and Theater)." Человек и культура, no. 6 (June 2022): 9–17. http://dx.doi.org/10.25136/2409-8744.2022.6.37011.
Full textAbstract:
The subject of the proposed research is a historical analysis of the works of the masters of the Palekh craft of the 1930s - 1970s in the field of design of theatrical productions – a little-studied phenomenon of Russian folk culture of the twentieth century. The author of the article draws the most illustrative examples, referring to the sketches created by Palekh artists for productions of the Soviet theater. Special attention in the study is paid to the largest figures of the craft who worked in the field of theatrical design: I. I. Golikov, P. D. Bazhenov, N. M. Parilov, A. A. Kotukhina. The purpose of the article is to show the importance of the creative contribution of the Palekh masters to the development of theatrical and decorative art of the Soviet era on the extensive material of numerous productions of major theaters in Moscow, Leningrad and other cities. Using the method of comparative analysis, as well as historical-systemic and iconographic research methods, the author emphasizes the importance of knowledge about the works of Palekh artists in the field of theatrical productions for a correct understanding of the general history of Palekh craft in the twentieth century. The scientific novelty of the research consists in an attempt to analyze the topic under consideration as a single complex phenomenon. The main conclusion of the article is the thesis about the inseparable connection of Paleshan's "theatrical" works with lacquer miniature: the theatrical design works of Palekh masters appear at the same time with their experiments with lacquer miniature; the largest Palekh miniaturists worked with theaters; during the entire Soviet period, Paleshan's experience in theatrical and decorative art was in demand as much as and their lacquer miniature.
41
Lavrov, Dmitrii Evgen'evich. "The works of artists of the Palekh lacquer miniature craft in the field of design of theatrical productions of the 1930s - 1970s (Palekh and Theater)." Человек и культура, no. 1 (January 2023): 1–9. http://dx.doi.org/10.25136/2409-8744.2023.1.37011.
Full textAbstract:
The subject of the proposed research is a historical analysis of the works of the masters of the Palekh craft of the 1930s - 1970s in the field of design of theatrical productions – a little-studied phenomenon of Russian folk culture of the twentieth century. The author of the article draws the most illustrative examples, referring to the sketches created by Palekh artists for productions of the Soviet theater. Special attention in the study is paid to the largest figures of the craft who worked in the field of theatrical design: I. I. Golikov, P. D. Bazhenov, N. M. Parilov, A. A. Kotukhina. The purpose of the article is to show the importance of the creative contribution of the Palekh masters to the development of theatrical and decorative art of the Soviet era on the extensive material of numerous productions of major theaters in Moscow, Leningrad and other cities. Using the method of comparative analysis, as well as historical-systemic and iconographic research methods, the author emphasizes the importance of knowledge about the works of Palekh artists in the field of theatrical productions for a correct understanding of the general history of Palekh craft in the twentieth century. The scientific novelty of the research consists in an attempt to analyze the topic under consideration as a single complex phenomenon. The main conclusion of the article is the thesis about the inseparable connection of Paleshan's "theatrical" works with lacquer miniature: the theatrical design works of Palekh masters appear at the same time with their experiments with lacquer miniature; the largest Palekh miniaturists worked with theaters; during the entire Soviet period, Paleshan's experience in theatrical and decorative art was in demand as much as and their lacquer miniature.
42
Lavrov, Dmitrii Evgen'evich. "Works of Palekh miniaturists of the Soviet period in the field of design of art postcards (Palekh and postcard)." Человек и культура, no. 6 (June 2022): 1–8. http://dx.doi.org/10.25136/2409-8744.2022.6.37077.
Full textAbstract:
The article is devoted to the phenomenon of art postcards in the Palekh lacquer craft in the 1960s - 1980s – a little-studied field of folk art of the late Soviet period. The subject of the study is the analysis of over 20 sets of Palekh art postcards that were widely popular among art connoisseurs, including works by K. S. Bokarev, B. N. Kukuliyev, A.M. Kurkin and E. I. Pashkov. The purpose of the article is to show the importance of studying this topic on a wide range of material attracted by the author for the knowledge of the history and artistic specifics of the Palekh lacquer craft in the XX century, as well as for the successful revival of these traditions in our time. Using the method of comparative analysis, as well as iconographic and historical-systematic research methods, the author emphasizes the importance of the chosen topic, pointing out that, unlike all other types of artistic products of the craft, it was the Palekh postcard, published in millions of copies, was a truly folk product, which was found in almost every house in Soviet times. The scientific novelty of the research consists in the very attempt of a comprehensive analysis of this topic; in particular, the author points out that the main genres of postcard products of the craft in the 1960s - 1980s were illustrations of Pushkin and Russian folk tales, as well as epics and ideologically significant texts. The main conclusion of the article is the justification of the importance of graphic works by Palekh miniature painters for understanding their overall creative evolution.
43
李, 虹霏. "Analyzing the Historical Development and Cultural Value of Traditional Chinese Lacquer Art." Art Research Letters 13, no. 02 (2024): 92–98. http://dx.doi.org/10.12677/arl.2024.132015.
Full text
44
Wanjing, Asawinee. "The creation of contemporary glass mosaics inspired by ancient Burmese glass art." Craft Research 14, no. 1 (March 7, 2023): 31–58. http://dx.doi.org/10.1386/crre_00093_1.
Full textAbstract:
This research studies glass decorations used in religious buildings from nineteenth-century Burma. It focuses on artworks found along the inner walls of the Buddhist shrine at Shwe Yan Pyay in Nyaungshwe City. Dating from the early nineteenth century, the shrine still serves as a Buddhist learning centre in the village and is thus an invaluable source of knowledge on Burmese and Asian art. Ancient glass artworks employed different techniques, many of which have since faded from practice, such as painting under glass or using lacquer. Their study can inform art education, promote art conservation and open new creative pathways for contemporary artists. This study has researched these ancient techniques through practice-based research and offers examples of its contemporary application.
45
Pandey, Anjali. "WOOD CRAFT OF BIHAR AND UTTAR PRADESH –A SURVEY." International Journal of Research -GRANTHAALAYAH 4, no. 2 (February 29, 2016): 239–42. http://dx.doi.org/10.29121/granthaalayah.v4.i2.2016.2834.
Full textAbstract:
The tradition of wood carving is old. Wood craft is quite popular in Bihar and Uttar Pradesh. Craftsmen of these states are using their skill for making the designs in traditional and innovative way. A unique engraving creativity of ‘Nakkashi work’ appears with floral and figures etched out by the craftsmen. Lacquer work is obviously one of the major handicrafts of these regions. Various motifs of birds, peacock, fish, carved on the wood, appeals the viewers. The items made out of bamboo and wood are crafted in the shapes of birds, human figures and animals. Figures of Gods and Goddesses, animals and many mythological figures are crafted by the local craftsmen. The dolls, peacocks, parrots, elephants, horses, goats, bulls and cows are the repertoire of rural children. Uttar Pradesh is world known for its carved and brass inlayed or tarkashi wooden handicrafts. The craftsmen of Saharanpur are excelled in the art of inlayed wood work it is now widely used to decorate the centre-table, ash-trays, fruit-basket, service tray and other furniture articles etc. Varanasi and Amroha are particularly well known for lacquered woodcraft of UP. Numbers of lacquered toys, miniature kitchen utensils for children are made in this state.
46
Lavrov, Dmitrii Evgen'evich. "Palekh artist I. I. Golikov and his design of the book "The Word about Igor's Regiment": on the issue of Creative Borrowings." Культура и искусство, no. 8 (August 2022): 102–9. http://dx.doi.org/10.7256/2454-0625.2022.8.36523.
Full textAbstract:
The subject of the study is the analysis of illustrations created by the Palekh artist Ivan Ivanovich Golikov for the "Words about Igor's Regiment" – the largest monument of book graphics of Palekh art. The background, the reasons for giving I. I. Golikov an order to illustrate the book by the publishing house "Academia", the progress of I. I. Golikov's work on its implementation, as well as the impression that this publication made on customers and Soviet society are revealed in detail. The purpose of the article is, in addition to showing the possibility of fruitful work of a miniature artist in the field of art that is not related to the traditional lacquer miniature for Palekh, to analyze the creative method of I. I. Golikov when working on the illustration of this publication. Using the method of comparative analysis, as well as historical-systemic and iconographic research methods, the author at the same time focuses on the qualities of I. I. Golikov as an innovator and experimenter in art, which predetermined both the order for the illustration of the "Word" to this particular Palekh master, and the grandiose success that fell to the share of this book edition. It is in the study of these innovative qualities of I. I. Golikov, who is trying to "get away" from the stylistics of the lacquer miniature in his work on the publication "Words", that the scientific novelty of the study consists. The main conclusion of the article is the statement about the universality of I. I. Golikov as an artist, which allowed him to illustrate the publication "Words about Igor's Regiment", which immediately after its release became a universally recognized masterpiece of the art of Soviet book graphics.
47
Hung, Chi-Sen, Tien-Li Chen, and Yun-Chi Lee. "From Cultural Heritage Preservation to Art Craft Education: A Study on Taiwan Traditional Lacquerware Art Preservation and Training." Education Sciences 11, no. 12 (December 9, 2021): 801. http://dx.doi.org/10.3390/educsci11120801.
Full textAbstract:
In Taiwan, preservation and training policies of intangible cultural assets are highly valued by the government. In this study, lacquerware art craft education as intangible cultural heritage is the subject of this study. We conducted in-depth interviews and secondary data collection to obtain research data and carried out a grounded theory data analysis method through expert meetings to explore the passing on education strategy of “lacquerware art craft” in Taiwan. Firstly, based on Bloom’s educational objectives, the study analyzed three aspects of lacquer art education: cognitive, affection and skill, and proposed a “Lacquerware Art Passing-On Education Framework Diagram”. Later, the analysis results of the grounded theory enable us to summarize the “Lacquerware art value and learning structure diagram”. In this structure, it reveals that the Lacquerware artist’s way of thinking about the craft levels can echo the system of the Three Extremes of the Tao in the Book of Changes and divide the value levels of creation into the levels of tools of livelihood, way of living and philosophy of life.
48
Webster, Rebekah I., and H. Francis Webster. "Light Induced Degradation of Nitrocellulose Lacquer Thin Films for Conservation of Art Objects." MRS Advances 2, no. 63 (2017): 3951–57. http://dx.doi.org/10.1557/adv.2017.597.
Full textAbstract:
AbstractTo better understand light induced changes in polymeric coatings commonly used to protect metal artifacts, this work details the decomposition of thin (∼100nm) nitrocellulose-based lacquer films on silver, copper, and gold. Samples were exposed to various wavelengths of light including, UVA (∼340nm), UVB (312nm), and UVC (254nm), under controlled temperature and humidity. Decomposition was characterized using reflection absorption spectroscopy (RAS) and monitoring infrared absorbance bands. The loss of NO2 functional groups was observed and the decrease was fit to a simple two step autocatalytic model involving primary and secondary decomposition steps. The decomposition rate under UVC light exposure was rapid and similar for all substrates. Rate constants for the primary and secondary steps were similar in magnitude and only mildly dependent on temperature. For UVB light exposure, all reaction rates were much slower and secondary decomposition was much faster relative to the primary decomposition step. Decomposition under all conditions resulted in the formation of oxidized species with an infrared spectrum similar to that of carboxylic acids.
49
Sun, Yikang, Chia-Chan Liao, Sai-Ching Chang, and Rungtai Lin. "The Communication Mechanism in the Workshop and Its Implications for the Sustainable Development of Traditional Crafts: A Case Study of Lacquer Culture in Taomi Eco-Village." Sustainability 14, no. 21 (October 25, 2022): 13813. http://dx.doi.org/10.3390/su142113813.
Full textAbstract:
Many countries have been digging deeply into local culture and characteristics, and constructing appropriate models for culture, industry, and consumers is a critical problem. Employing a qualitative research method, this study focused on the communication mechanism in the workshop and its implications for the sustainable development of lacquer in Taiwan. A creation-exhibit-popularize model was constructed. Data were collected using semi-structured interviews with one lacquer artist. The results showed that cultural sustainability needs to be addressed from different aspects in order to benefit all participants. This can allow those who have no artistic background to participate, feel the charm of art, and realize the connotation and value of culture, and the artworks can convey the value of cultural features to tourists. A follow-up study should focus on how participants and visitors can better appreciate the value of activities such as workshops, and explore ways to invite them to give feedback. Due to the limitation of the number of people in these activities, and because many people may not have time to participate, it is advisable to use technology to achieve simultaneous offline and online implementation, which is of great benefit to cultural sustainability.
50
Biswas, Pradipta. "Wooden Toy of Chennapatna, India: Beauty of Form & Socio-Cultural Reflection on the Characterization of Toy." Shanlax International Journal of Arts, Science and Humanities 9, no. 2 (October 1, 2021): 21–25. http://dx.doi.org/10.34293/sijash.v9i2.4153.
Full textAbstract:
Toy making is a part of almost every civilisation, and still, it is continuing as a living tradition in so many countries. Toys play an overall growth for a child. It developed a child mentally, physically, socially, and emotionally. Though it has started as a folk tradition or community-based craft, it has commercial and strong aesthetical value. This study focused on the Chennapatna toy from India. Chennapatna toy is a environment-friendly toy made with softwood, natural colour, and lacquer. This study critically analyses the beauty of the form of Chennapatna toys and also explore how this toy is made by natural substance. Like other art forms, toys also represent art, culture, religion, society, and civilisation. This study also critically analyses the socio-cultural issues, which are well reflected through this toy-making tradition.