Rozprawy doktorskie na temat „Lacquer art”

This thesis examines a group of objects produced for Catholic Europeans in the scope of the Portuguese maritime explorations and Catholic missions in Asia in the 16th and 17th centuries. Embellished with Asian lacquer coatings, their heterogeneous character and complex mix of decorative elements, artistic and craft traditions has led to various attributions regarding their production, including classification as Indo- Portuguese, Sino-Portuguese, Japanese nanban or Ryūkyūan. This study arose over discrepancies between these presumed identifications and their actual physical features. Taking a multi-disciplinary approach, it combined formal and esthetic examination with material analysis, while also considering the cultural and geo-political context, contemporary Asian lacquer traditions, and similar decorative techniques. In addition to refining the fundamentals of lacquer conservation it also led to a reconsideration of the accepted attributions of these objects. As a result, the study sheds new light on our understanding of European and Asian relations in a period critical to the shaping of our modern world; RESUMO: A Viagem dos Artefactos: O Estudo e a Caracterização de um Núcleo de Objetos Lacados Luso-Asiáticos dos Séculos XVI e XVII Esta tese examina um conjunto de objetos produzidos para europeus católicos no âmbito das explorações marítimas portuguesas e missões católicas na Ásia nos séculos XVI e XVII. Embelezados com revestimentos de laca asiática, o seu carácter heterogéneo e a mistura complexa de elementos decorativos, tradições artísticas e artesanais levaram a várias atribuições em relação à sua produção, incluindo classificações como indo- português, sino-português, japonês nanban ou Ryūkyū. Este estudo surgiu devido a discrepâncias entre essas presumidas identificações e as suas características físicas reais. Ao adoptar uma abordagem multidisciplinar, esta investigação combinou o exame formal e estético com a análise dos materiais, considerando também o contexto cultural e geopolítico, as tradições contemporâneas de laca asiática e as suas técnicas decorativas similares. Além de refinar os fundamentos da conservação da laca, também levou a uma reconsideração das atribuições aceites relativamente a esses objetos. Como resultado, esse estudo lança nova luz sobre a nossa compreensão das relações europeias e asiáticas num período crítico para a formação de nosso mundo moderno.

碩士
國立臺灣師範大學
設計研究所在職進修碩士班
91
This study is to explore the materials and techniques of Lacquer Art and its variety and complexity. It is to reveal the expression of lacquer techniques on Lacquer ware through the development of the traditional decorative lacquer art, and to create more spiritual and contemporary lacquer ware. The decoration on traditional craft used to be created for and only on functional objects, which is limited by its purpose as a functional ornament, but not considered as an art object. In recent years, more and more of the lacquer art exhibitions have taking place all over the world, the lacquer art has becoming rather a new art form than just pictorial decoration as a lacquer ware. Because of its artistic and crafty qualities and its unique techniques, the lacquer art fills the gap between artistic creativity and functional decoration, which brings the lacquer art into a higher level and improves its value, also transforms the lacquer art into the contemporary life. This article has introduced the lacquer art in detail. It intends to break the stereotype of traditional craft to the public and hope that the lacquer art will win the recognition and become the acknowledged art form after the ceramic and glass art not just “Lacquer”, and eventually becoming part of the art education.

碩士
國立臺灣藝術大學
工藝設計學系
103
Modern people often lead a busy life. Thus, I’d like to evoke people’s pleasant childhood memories by integrating the essence of children’s folk games into my works. First, this thesis studies the art of traditional lacquer ware, the present situation of its development in Taiwan and varied applications of its techniques. Next, this thesis explores the literature on children’s folk games. Then, I incorporate the looks, the playing methods and happy associations of children’s folk games into household ware of various materials while making use of different lacquer techniques. My works are divided into three sections: to play, to reminisce and to have a game together with the purpose of demonstrating how traditional children’s folk games can be transformed into household ware.

碩士
大葉大學
造形藝術學系碩士在職專班
96
The creation of the technical art is originated from the human demand, and it brings about the convenience and comfort in life. To manifest the original value of technical art from the level of life, the containing meaning is not only the application of life but also the function of spirit and education. Early period in Taiwan is the immigration society, so the lacquer for life is immigration from Main Land China. During the period of Japan dominion, they planned to develop the lacquer business in Taiwan. Therefore, the foundation of Taiwan lacquer art was settled for the history of traditional technical art. The source materials to be easy obtained and extra work are wood, bamboo, etc. To protect and apply ornaments by simple ways is the characteristic of lacquer during that time. The red, black, and gold are the favorite color of applying ornaments for us Han nationality. The lacquer art drawed by concise, sober, and traditional skills, with artistic and practical functions awaken people to respect for the nature, cherish conventions and concern about humanities and culture. We look forward to bring the esthetics of lacquer craft to our daily life, promote the public to understand it, further more love to use it, place importance on it, and create the life esthetics of lacquer art.

碩士
樹德科技大學
應用設計研究所
101
Lacquer art represents the spiritual beauty of traditional cultures in Asia and has been researched and applied to create high value-added works as well as it has been mentioned as one of the heritage of the world. Therefore, the purpose of this thesis is to explore a unique view on lacquer painting by comparing its differences in Vietnam and it in Taiwan. Afterwards, I applied it in clothing design. I fulfilled my research based on the methods including data collection, investigation of process and implement of lacquer painting, observation and analysis of color and material. Additionally, the main materials, which are lacquer oil, color powder, egg-shell, shell pearl, gold leaf, silver leaf, were applied in my works. Moreover, I extracted a unique image, the crane standing on the back of turtle, from the traditional culture of Vietnam. It, standing for faith, was presented in the temples, pagodas, tombs in Vietnam and further transferred and applied in my works for the aspiration of longevity, intelligence and good luck. The results were shown that the best mixing ratio of lacquer oil, color power and banana oil is 3：3：4, and a preferable painting layer is 2 layers. Consequently, I can achieve a unique lacquer painting fabric with suitable softness and stretch. Finally, I completed my collection named “Eternal Passion” with total of 10 costumes and some related accessories.

碩士
中國文化大學
美術學系
106
Zhuang zhouu(zhuangzi)'s philosophy have greatly influenced over Chinese traditional art work. zhuangzi's vision has carried the effect over Chinese painting, his philosophy enriched Chinese painting's inner beauty and intellectual level. 　　By comparing both eastern and western cultural and method of ancient Chinese art work, It included the idea of "Sheng Wu You Xin" emphasizing the traditional philosophy of Tao; adapting those inspirations of the lacquer painting, to study the source and origin of beauty in the Chinese painting, therefore, enhancing the higher level of creations. 　　Beauty is an emotional force that are consisted throughout the world. By expressing the idea of selfless and understanding of art, the artist uses static image and geometry to create the motion of heart to interpret the feeling of static beauty. 　　Lacquer painting is most traditional way of painting, and it last the longest compare with other kind of painting. Lacquer painting is rich in color and special in presentation. It is different from other style of painting. Due to these special entity and the modern technology adaptation of the art work. Lacquer painting has become more main stream as today. Lacquer is special in its own way, usually lacquer painter are master of both lacquer and painting techniques. 　　Lacquer paint have been heavily influenced by eastern culture: its colors, materials, techniques, and styles. By inquiring all these elements and fusing with the idea of western culture, it can transcend nto the ultimate goal of becoming an international lacquer artist.

碩士
國立臺灣藝術大學
工藝設計學系碩士班
100
Lacquer is an application of decorative arts. Many superb techniques handed down over thousands of years. From archaeological excavations, a wealth of lacquer ware unearthed. Lacquer Is the name of the ancient lacquer, modern term turns to be lacquer art. The ancient lacquer is in the existence of practicality. Modern lacquer is an art form to express their own creative ideas. According to different historical background, it will produce a different style of work. This paper is to explore and discuss the eggshell particle techniques. Standardize the material to produce a test piece. Test eggshell particles according to different types, material sifted segmentation, normalization, classification. Produce a standard specimen respectively. By comparing the differences and characteristics of the visual effects, analyzing, summarizing and collating, the result of this technique is called "eggshell painting" techniques. Be a reference for lacquer creation.

碩士
大葉大學
設計暨藝術學院碩士在職專班
104
Landscape appears spirit of the nature, and nature inspires our sense of beauty. Artists often were encouraged by the great nature and express their creativities with brushes. The creativities of artists often come from perception and observation. "Urushi Landscape" is a series of work which based on Japanese lacquer and driftwood was made by reflecting the impression of beautiful landscapes in two dimensional lacquer painting and three-dimensional lacquer sculpture. "Preserve wood" is one of the basic techniques for Japanese lacquer craft. In tradition, wood were often preserved by lacquer, thus the application of "lacquer on wood" is not only functional but then also convey to a substantive sense of "Urushi Landscape". Each piece of work in this series contains both active and passive expressions through techniques and materials；The diverse and delicate techniques of Japanese lacquer craft which performs various colors and textures, in contrast to driftwood, which is not fabricated, plain and formed in nature. Besides reflecting the beauty of nature, "Urushi Landscape" is an echo of the action of sustaining the nature.

碩士
亞太創意技術學院
茶陶創意研究所
105
During the evolution of human civilization, which is driven by advancing thoughts, our life demands greatly promote the functional development of utensils. Moreover, with advancing civilization and uninterrupted creation, human craftsmanship has become more and more delicate. In China, lacquer and pottery arts are two of the longest-standing and most significant forms of folk craftsmanship. During the long historical process of ethnic fusion, they have gradually assimilated the cultures of various ethnic groups and possessed significant values of traditional Chinese customs and traditions. With the rock-solid foundation of knowledge and skills, the Chinese lacquer and pottery craftsmanship could be transformed into the forms of pure art if today’s artists infuse modern aesthetic elements into these traditional craftsmanship and give them new meanings. In China, these craft media are usually used separately even though they have been created for thousands of years and become deeply rooted in our society. However, in Chinese archaeology, a few lacquer-pottery products have been discovered from underground tombs, and most of them are pottery, which made from clays fired at low temperatures (900 oC), covered with natural lacquer. In recent years, Tjouh-Min Lai, the current representative of Taiwanese lacquer culture, has created “Taiwan Ware” by decorating clays fired at higher temperatures (> 1000 oC) with several-layer-lacquer-painting on the surface through revolutionary processes. The patterns of my lacquer-pottery art are completely different from the above. The ancient Chinese craftsmen covered pottery with lacquer only for its waterproofing function; Master Lai used pottery purely and simply as a base material to express his lacquer art. By comparison, the destination of my creation is to fuse the two completely different materials, textures, skills, and arts together in my work. I expect to use pottery’s simplicity and solidity to set off lacquer’s brilliance and brightness. The textures and strengths of lacquer and pottery are in sharp contrast but complementary. The primary idea and pursuit of my lacquer-pottery art is to present the two different craftsmanship simultaneously and equally in my work. In order to expand my artistic creativity and make my lacquer-pottery art more distinct from other artists, I have visualized my innovative idea in this work by expressing it with the elements of creation I used in the past. Looking to the future, I will endeavor to create specific artistic values and historical position for Taiwan’s traditional lacquer culture.

碩士
國立成功大學
藝術研究所
98
This essay aims to study the development and revolution of lacquer in Taiwan. From the historical point of view, divided into lacquer business and lacquer work, this essay hopes to systematically organize the lacquer history of Taiwan. The time span starts from Japanese Occupation till the post-Taiwan Restoration. Firstly, to discuss the education of lacquer workers, this essay begins with Yamanaka’s private school built by a Japanese, Kou Yamanaka and includes the transformation of the school history and its lecture content. Secondly, because of Yamanaka’s contribution, Kou-Shan Lai, a student of Mr. Yamanaka, and his son, Tjouh-Ming Lai, become representatives of Taiwan lacquer work. Kou-Shan Lai, the founder of Gaun Shan Store, transcends the barriers of tradition carved lacquerware and invents several-layer-lacquer-painting. Furthermore, Kou-Shan Lai’s lacquer painting becomes a representation of his artistic work. Seeing from the tree lacquer techniques, this essay argues the thematic types and uniqueness of Kou-Shan Lai’s lacquer painting. Later, Tjouh-Ming Lai simplifies the producing processes of Taiwan ware in order to make the creativity of Taiwan ware easier. Then, Tjouh-Ming Lai also re-examines the techniques of several-layer-lacquer-painting invented by his father, Kou-Shan Lai, and discusses his experimental results. From the prosperity to the decline, the history of Taiwan lacquer has developed for almost a hundred years. Accordingly, because of the importance of the cultural preservation, to study art and craft of lacquer in Taiwan becomes necessary.

碩士
國立屏東科技大學
材料工程研究所
106
Natural paint combined with different materials and the use of different decorative techniques, become refined and beautiful natural lacquer. Is widely used in everyday objects, art aesthetics and fashion. This study will pursue the idea of combining craft with aesthetics and humanity, and how to use the new materials and lacquer decoration to create unique products. In view of natural lacquer properties, natural lacquer is applied to metal materials to conduct research experiments. Metallic materials and stainless steel mesh are used as natural lacquer carcasses and different stereoscopic shapes are created to show different visual art effects. The combination of art and technology is the future of industrial trends. The natural lacquer decoration on the metal, creating a three-dimensional peony paint "imprint", into the magnetic design technology products maglev "attraction" touch lighting "Guardian" and the blue bud Headphones "joy" and other works.

碩士
大葉大學
造形藝術學系碩士班
95
The lacquer is a kind of traditional material, and the lacquer of art is a new way to expression. The relation between innovative and tradition of art is dense and integral. This research is based on the tradition of lacquer skills and created by traditional material of lacquer. In order to present modern thinking, I tried to integrate the tradition of lacquer skills and the abstract concept of western art. And I tried to present a new technique of expression. This research is focused on: One: To use traditional material of lacquer to create modern lacquer painting and display the thinking of modern. It has to combine aesthetic conceptions with aesthetic conceptions. It can be freedom discussion in painting form and language. In order to promote the grade which is lacquered the skill product and additional value, I shorten the distance in the created with freedom and the spirit of fine art. I especially focus on combine' the lacquer painting' and the skill with' the sculpture'. Two: To create actually. In order to find out the skills and techniques of “lacquer” its variety and enriching. Combining several kinds of skills of lacquer, trying to create lacquer work which full of spirits and modernism.We can see modern thinking and personal style in the lacquer ware. I especially expect people can be notice and focus on the art of lacquer again.

碩士
亞太創意技術學院
文化創意設計研究所
104
The main purpose of this study is to investigate the natural raw lacquer crafts and to present the elaboration of natural raw lacquer creativity. The natural raw lacquer, a human's treasure from the nature, has been used in Chinese culture. The raw lacquer tresses grow in Southeast Asia which have many excellent characteristics, like heat resistance, corrosion resistivity, adhesiveness and so on. The graceful and mild sense of reality can be showed through the creation of the human’s hand. The author has executed the technique of natural raw lacquer for a long time by combining with woods, bamboos and other materials to create the sets of apparatus for contemporary tea persons. The creation includes wood tea tables, tea chairs, the tea cabinets, tea trays, tea holders, tea pads, teaspoons, and even the decorations for the tea party environments. The author combines the virtues of raw lacquer and the characteristics of woods and bamboos with the base of modern esthetics to create the tea sets for contemporary tea persons.　The intention of this presentation expects to make contributions for Taiwan contemporary tea culture by creating a warm, elegant, comfortable and succinct art atmosphere.

碩士
國立雲林科技大學
文化資產維護系
103
In this paper, the Fengyuan Museum of Lacquer Art（FMLA）is taken as an example to discuss cultural centers in Taiwan. Specifically, we look at the local industries’ limited financial resources, as well as the limits of materials and human resources to discuss the development of local technology industry exhibition strategies. FMLA is Taiwan's first public lacquer art gallery. However, it is the center of Taiwan’s promotion of lacquers as a way to better understand culture centers and education centers, especially looking at their connections to nature. FMLA has established successful links with local industry lacquer educational programs, which has helped it save precious cultural lacquer assets and allowed it to become a sightseeing destination. This study uses document analysis, in-depth interviews with participant observation, and other methods to analyze the business strategy used by FMLA over the years. The study found that the FMLA provides cultural tours and develops other plans, and it also is involved with the diversified development of cultural and creative goods and in developing Internet marketing strategies. Moreover, it has cooperative with schools, works with volunteers, and with various associations. All these endeavors are to achieve the integration of cultural resources, social resources and media cooperation related to the lacquer industry as well as finding or developing value-added products and improving its marketing. At the same time, the Ministry of Economy’s One Village One Product (OTOP) plans to establish a permanent exhibition on the lacquer industry. They will introduce the industry division to train volunteers and trainees, and those who finish the course on lacquer will join the museum’s special exhibitions or trade shows. This will increase cultural and creative opportunities. This study’s investigation of the FMLA exhibition display resource planning and analysis, as well as their archives marketing strategy show the following results. They show that the FMLA has 1) are able to save local characteristics, 2) from the layman’s study they have demonstrated functional display, and 3) they keep learning new activities to run the craft industry. The benefits of the exhibitions or shows including the following: 1) the ability to integrate resources, 2) the ability to link human resources in a beneficial way, 3) the development of local business relationships, 4) and finally having direct contact with various lacquer resources. Finally, the FMLA has demonstrated these strategies: 1) able to deal with emerging cultural events, 2) able to amplify display types, and 3) able to provide educational outreach. The FMLA is adept at introducing various community resources, and at the use of force to enhance the depth of local industry and education to promote their shows, which help to promote the sustainable development strategy for the FMLA. Our results show that they can provide local industries with help and can be a reference for future integration of diverse social resources. They can also inject new energy into both culture centers and local businesses. Keywords: Local Industry, Craft, Local Industry Exhibition, FENGYUAN Lacquer

碩士
中國文化大學
美術學系
107
This dissertation, the author mainly through the medium of liquid paint color to create abstract art, while studying painting in the painting process from the creation of paintings inside, to accumulate the characteristics of the paint color of the media and understanding, in which Looking to utilize the advantages and disadvantages of paint, as I previously experienced in conjunction with the cognitive knowledge and ideas, combined with experience the artistic process from small to large have learned, to try all aspects of the author create their own personal creative abstract art works. In the creative process, the author paints for the painting will begin to rise to other ideas largest main reason, probably because of different weather regions north and south of Taiwan relations, the impact of liquid paint dry speed and I read together with the associated color science knowledge of abstract art, and gradually derived from other lacquer painting works ideas, and later from the initial "splash" series, the slowly have derived "mountain range" and "minimalist series."

碩士
中國文化大學
美術學系
103
Chinese Dragon and traditional Chinese lacquer art have experienced thousands of years of refinement in the long course of history and development and finally create the extraordinary Chinese history and civilization. Chinese Dragon is a big symbol of Chinese nation with general belief concept. Therefore, in the exploration of its origin and evolution, the writer finally learned what it is or how many animals it has and how it transfer into dragon after processing of craftsmen. Modern Chinese still inherit old tradition that is to respect dragon which leads to some grand ceremonies holding with dragon image and pattern such as Dragon Boat Festival and Dragon Dance. Dragon has imprinted unforgettable civilization trace in Chinese politics, art, literature, traditional customs and religious belief fields. Chinese Dragon is applied in broad fields, but it actually has a very complicated development and evolution process. Hence, the writer collects and organizes the evolution process of Chinese Dragon and looks for its different changes and features in different dynasties. Chinese traditional lacquer art has a long history. It has influenced all levels of social life and deeply influenced people’s needs of life. With the rapid development of modern society, people’s lifestyle is changing. The lifestyle of seeking for newness and speed modes is indeed different from that in the past. It can be said that it has faded from previous complicated traditional craftsmanship and art, especially lacquer field which is complex in fabrication procedures. Besides, as it can cause scratchy skin allergy, traditional lacquer art has been ignored in modern society. At present, few young groups can understand better about the spirit and spirits rich connotation inherited from traditional lacquer art. The study starts from Chinese traditional lacquer art and Chinese Dragon image. The writer wants to explain the mighty and aggressive image of Chinese Dragon from special natural Asian lacquer media materials so as to present different dragon painting modes from others. In the process of combination, the writer added modern western and eastern painting expression techniques, expecting self lacquer painting can express unique painting style of Chinese-style westernization.