Global Context, Self-Awakening and Contemporary Reinvention Chinese Lacquer Painting and the Asian Lacquer Culture Circle

Abstract

Judging from the perspective of globalization, lacquer is a unique material culture form in Asia, and also one of the most important art media. in the early 20th century, under the background of Art Deco movement and French colonialism, the lacquer culture formed the phenomenon of return and gave birth to the Vietnamese lacquer painting, which indirectly contributed to the formation of the Chinese lacquer painting in the modern sense. Therefore, judging from the historical perspective, the birth of lacquer painting has a globalized background. From the perspective of art history, in the course of nearly a century, Chinese lacquer painting has gone through three stages of development, from germination and popularization to development and reflection, to the formation of cultural self-awakening, which can be called the “triple stage”, and finally completed its own construction, presenting a prosperous appearance in the contemporary era. Thinking from the level of contemporary culture, with the Asian countries’ re-cognition of traditional lacquer culture, the new form of Asian lacquer culture circle is gradually coming to the fore, in this process, Chinese lacquer painting actively participates in and in a sense leads the reconstruction of the contemporary Asian lacquer culture circle, and the awakening of Chinese lacquer painting represents the systematic revival of oriental culture and aesthetics in contemporary Asia. Therefore, through the background of cultural return, the contemporary situation of triple steps and self-awakening, and the mission of reconstructing the Asian lacquer culture circle, that is, the three nodes of the past, the present and the future, this paper points out that the development of Chinese lacquer painting is not only a matter of art itself, but also of great significance in reconstructing the contemporary global art discourse.