중국, 한나라의 서한(西漢)초기 칠기 의장 연구

Abstract

This study has analyzed the modeling traits of 125 lacquer ware samples unearthed from ancient tomb since early Western Han Dynasty. At present, although Han Dynasty lacquer ware has received excellent evaluation, the research on its modeling traits is very limited, which is aimed to find out the excellence of lacquer ware making technology and provide basic information for the study of lacquer ware in the Han Dynasty by studying the lacquer ware in the golden period of Chinese history. The political institution and social stability has laid a solid foundation for the development of lacquer art in the early Western Han Dynasty. In terms of culture and philosophy, it was influenced by China’s Chu culture, Taoism, Yin-yang and five elements theory. As a result of handicraft industry system, social demand and technological development in the early Western Han Dynasty, the efficiency of lacquer production was greatly improved. This background played a positive role and the lacquer art in the early Western Han Dynasty had distinct characteristics. The lacquer ware in early Western Han Dynasty was mainly of functional varieties such as boxes and plates, and most of its types were articles of daily use and bronze imitations. The lacquer body was mostly wooden. The pattern materials were natural patterns, animal patterns and geometric patterns in turn. The main patterns were cloud, dragon, phoenix and so on, and the subordinate patterns were cloud, geometry, bird and so on. The primers were red-inside and black-outside, of which the black was more. The pattern colors were red. The layout of decorative patterns took single pattern and “S” shape composition as the main pattern, two continuous pattern as the subordinate pattern. Abstract deformation technique was mainly applied in the pattern expression. The pattern of lacquer painting performance was to complete the modeling style with colored painting techniques. Above all, lacquerware with obvious traits in the early Western Han Dynasty has gone till modern times. In the future, I hope that research on the design of lacquerware of the Han Dynasty will be studied from a deeper and more diverse perspectives, and it will be a reference for similar research.