Fig. 1 Lacquered Imperial Wine Glass (M1: 139-19-) insole
Fig. 2 Lacquered Imperial Wine Glass (M1: 139-19-) outsole
Fig. 3 Lacquered cup (M1: 341-2)
Fig. 4 Lacquer Cao Character Cup (M1: 139-15-)
Chinese archaeology has gone through a hundred years of history, and the study of ancient lacquerware has also gone through a hundred years, combing and reviewing the history of ancient lacquerware for a hundred years to review the past and look forward to the future. According to the research content, research methods and research level, the history of archaeology in ancient Chinese lacquerware for a hundred years can be roughly divided into three stages.
The first stage (1920s-1970s): the initial stage
This period is the beginning and exploration stage of ancient Chinese lacquerware research, due to the weak foundation of archaeological work, the academic community for all aspects of ancient Chinese lacquerware are very lacking, the relevant research is mainly the introduction and description of basic utensils, in the 70s there were some basic problems on the unearthed lacquer inscriptions and origin of the basic problems of research.
Earlier studies were mainly carried out by Japanese scholars in the 1920s and 1940s around the lacquerware excavated by Japanese scholars in the Han Tomb in Hanlelang County, Hanlelang County, Korean Peninsula, Chinese scholars either translated their materials and research results, or used their materials to conduct some limited research, basically for the study of inscriptions and patterns, this period also had scholars according to the literature, and accompanied by the discovery of the Lelang Han tomb, the preliminary study of lacquer, the general situation of Han Dynasty lacquerware and the fetal bone, due to the limited archaeological discoveries at that time It mainly used the study of literature, and the lack of archaeological evidence, and scholars recorded the non-scientific excavations of Changsha lacquerware that were seen at that time.
This batch of lacquer wood ware production technology is exquisite, a wide variety, a huge number, for the study of the development history of Han Dynasty lacquerware provides important information. Since June 2016, the Jiangxi Provincial Institute of Cultural Relics and Archaeology and the School of History of Beijing Normal University have carried out a year-long statistical, collation and classification of lacquered wood ware excavated from the Tomb of the Western Han Dynasty in Nanchang, and have initially achieved some research results. The collation work involved more than 2,000 pieces of lacquered wood excavated from the tomb of Hai Xiahou, of which more than 1,100 were relatively intact and recognizable, and the rest were mostly lacquered wood fragments or patent leather fragments. The following is a briefing on the finishing of lacquered wood excavated from the tomb of Liu He, Marquis of Haixia.
Fig. 5 Lacquer plum cup (large) (M1 : 2-1)
Fig. 6 Lacquer plum cup (large) (M1 ∶ 2-1)
Fig. 7 Lacquered plum cup (small) (M1 : 310)
Fig. 8 Lacquered plum cup (small) (M1 : 310)
Figure 9 Zhu Qijie (M1 : 633)
Figure 10 Black Lacquer (M1: 713)
Fig. 11 Lacquer Xiaojie (M1: 139-2-)
Fig. 12 Lacquer Imperial Wine Plate (M1: 139-19-)
From the 1950s to the 1970s, a slightly more lacquerware was found during this period, mainly from the Warring States Tomb in Changsha, Hunan, the Tomb of Marquis Yi of Suixian County, Hubei, the Tomb of Mawangdui Han in Changsha, Hunan, the Han Tomb no. 168 of Fenghuangshan in Jiangling, Hubei, the Han Tomb of Yinqueshan in Linyi, Shandong, and the Han Tomb in Mancheng, Hebei. Chinese scholars have made some brief sorting out of the lacquerware on the basis of the information obtained from their own excavations, mainly to introduce the lacquerware excavated from the Chu Tomb in Changsha and the lacquerware patterns; Li Jiahao analyzed the contents of the lacquer paintings on the "Turtle Shield" excavated from the No. 8 Han Tomb in Fenghuangshan, Jiangling; Sun Zuoyun made an interpretation of the lacquer coffin painting of the Mawangdui No. 1 Han Tomb; Xiong Chuanxin gave a brief introduction to the lacquerware unearthed from the Mawangdui Han Tomb; and Chen Zhi conducted a comprehensive study of the Han Dynasty lacquerware according to the excavation of lacquerware at that time He Hui discussed the tuan fan and carved lacquer fan handle excavated from the Tomb of the Song Dynasty. The study of the writing on lacquerware, including the interpretation of the text and the study of the origin and manufacturer of lacquerware based on this, was a hot topic of research in this period, such as the study of the inscription on the lacquer plate of the Mancheng Han Tomb, the interpretation of the lacquer inscription of the West Han Tomb in Linyi Yinque Mountain, the discussion on the origin of lacquerware excavated from the Han Tomb No. 168 in Fenghuangshan, and the discussion on the problem of the production of lacquerware excavated from the Mawangdui No. 1 Han Tomb. Scholars during this period also paid attention to the study of lacquer craftsmanship, Shen Fuwen briefly sorted out the history of Chinese lacquer arts and crafts; Suo Yuming's research focused on documentary records and museum collections, such as discussing the three generations of lacquer workers from the perspective of pre-Qin classics, discussing the collection of Chu lacquerware and lacquer painting styles, and studying the clamped tires and their origins; Wang Shixiang combined documentary records with archaeological discoveries to discuss the ancient Chinese lacquerware decoration process; Wang Heju discussed the source flow of lacquerware from the perspective of process technology.
The second stage (1980s-late 20th century): the initial stage of development
After the archaeological discovery of several batches of important lacquerware in the 1970s, in the 1980s and 1990s, with the archaeological excavations carried out successively in various places with large-scale capital construction, a number of large-scale tombs and tombs such as the Chu Tomb of Yutaishan in Jiangling, Hubei, the Chu Tomb of Baoshan in Jingmen, Hubei, the Qinhan Tomb in Yunmeng Sleeping Tiger In Hubei, the Han Tomb in Fenghuangshan in Jiangling, Hubei, and the Han Tomb in Luobowan in Guixian County, Guangxi, unearthed a large number of well-preserved lacquerware, which greatly enriched the ancient Chinese lacquerware data, and the research of scholars also entered a new stage, and new achievements continued to emerge. The breadth and depth of the research content has been expanded.
The Book of Ornaments is the only surviving treatise on ancient lacquer in China, which scholars have attached great importance to and studied and interpreted, and achieved fruitful results. Wang Shixiang's Commentary on the Decoration of the Crown is a collection of masters, who gives a comprehensive and detailed commentary and explanation of the "Record of the Ornamentation"; He Haoliang and Tao Shizhi's "The Study of Lacquer Art ornamentation" is divided into three parts, the "Upper Edition" talks about raw materials, tools, equipment, etc., the "Middle Edition" and the "Lower Edition" expound different methods, and Wang Shixiang evaluates it as "making up for the shortcomings and deficiencies of the "Album of the Jewelry". In addition, the research results in lacquer technology are quite abundant, Shen Fuwen and Li Dashu sorted out the inheritance and historical context of Chinese lacquer art, summarized a set of lacquerware creation technology, and gradually constructed a technical system for forming lacquer art; Shen Fuwen briefly introduced the inheritance and development of Chinese lacquer art in accordance with the order of historical dynasties, and gave a general introduction to the lacquer art in modern regions; Wang Hu made a summary introduction to the history of Chinese lacquer art, the history of foreign lacquer art, lacquer art materials, lacquerware shapes and ornaments. Regarding the use of natural lacquer and its use, The Japanese scholar Makoto Makoto studied the painting and drying technology of ancient lacquerware; Kumasang qing discussed issues such as natural lacquer and its utilization. Chen Zhenyu made a useful exploration of the origin of Chinese lacquerware; Gao Wei studied the pottery temple Longshan culture woodware and discussed the origin of northern lacquerware.
Regarding pre-Qin lacquerware, Chen Zhenyu discussed the lacquerware production process of the Xia and Shang dynasties; Tang Yunming discussed the origin of lacquerware excavated from the Taixi ruins in Gaocheng, Hebei Province; Wang Mingli discussed the lacquerware of the Shang Dynasty and the Western Zhou Dynasty; Yin Weizhang studied the Western Zhou lacquerware unearthed in the Liulihe River in Beijing; Wang Wei studied the production process technology of Western Zhou lacquerware, the source flow of screw lacquerware, the function of lacquerware and its relationship with bronze ceremonial vessels; Zhang Yongshan gave an overview of Western Zhou lacquerware; Zhang Changshou, Based on the excavation data of Fengxi from 1983 to 1986, Zhang Xiaoguang studied the copper lacquered wood utensils of the Western Zhou Dynasty. In addition, there are many reviews and comprehensive research results, mainly Guo Dewei discussed the development of lacquerware in the pre-Qin period; Chen Zhenyu made a preliminary investigation of the partition of lacquerware in the Eastern Zhou Dynasty and gave an overview of the pre-Qin lacquerware; Zhou Shirong made a review of the Warring States lacquerware unearthed in Hunan; Ma Wenkuan analyzed the Warring States lacquerware; Gao Wei conducted a study on the Eastern Zhou lacquerware; Guo Dewei analyzed the development of lacquerware in the pre-Qin period and the characteristics of the lacquerware in the tomb of Marquis Yi of Zeng; and Li Rusen reviewed the Warring States Qin and Han lacquerware.
During this period, lacquerware excavated from Chu tombs became a hot topic of research, and scholars conducted research of different degrees from different angles. Yu Xiucui analyzed and discussed the pattern content of the lacquer excavated from the Spring and Autumn Tomb no. 4 in Zhao Lane, Dangyang, Hubei Province; Wang Hongxing studied the lacquerware group of the Chu Tomb no. 2 in Baoshan; Huang Gangzheng analyzed the lacquer and lacquer bottles excavated from the Chu tomb in Hunan; Nie Fei conducted a study on the lacquer cases unearthed from the Chu tomb; and Hu Zhihua made a preliminary analysis of the modeling and decorative art of the lacquerware excavated from the Shazuka Chu Tomb in Wangshan, Wangshan, Jiangling, Hubei Province. Shang Chengzuo made a famous interpretation of the three pieces of Chu lacquerware; Chen Zhenyu discussed the origin of lacquerware excavated from the Chu tomb; Li Zhaohe made a comparative analysis of "Bashu" and "Chu" lacquerware; Chen Shaodi gave a brief introduction to the Warring States Chu lacquerware; Chen Zhenyu conducted a study of the lacquerware handicraft industry of the Chu State during the Warring States period; Yuan Wenqing compared chu and Qin and Han lacquerware; Teng Rensheng discussed the relationship between Chu lacquerware and lacquer craftsmanship; Hou Dejun discussed the relationship between lacquer art and lacquer craftsmanship in the Chu State; and Chen Zhenyu studied the decorative art and craftsmanship of Chu lacquerware Pi Daojian conducted relevant research on lacquer art in the history of Chu art; Cai Quanfa analyzed Chu painting.
Fig. 13 Lacquered silver plate (M1 : 703)
Fig. 14 Lacquered face plate (M1 : 139-8-)
Fig. 15 Lacquer medical plate (M1 ∶ 17-1)
Fig. 16 Lacquered silver bowl (M1: 858-1)
Fig. 17 Lacquer Ponzi Bowl (M1: 139-12-)
Fig. 18 Lacquer Ponzi bowl (M1: 139-12-) outsole
Regarding Qin and Han lacquerware, there are many reviews and comprehensive research results, mainly Chen Zhenyu conducted a comprehensive study on the Warring States, Qin, and Western Han lacquerware unearthed in Hubei; Zhang Yan sorted out the history of Yangzhou lacquerware; Yang Quanxi made a comprehensive analysis of the Warring States Qin and Han lacquerware unearthed in Hubei Province; Zhou Li made a preliminary exploration of the Jiangnan lacquerware manufacturing industry in the Han Dynasty; Wang Zhongshu conducted a comprehensive study of Han Dynasty lacquerware; and Zhang Limeng reviewed the Han Dynasty lacquerware. In addition, Nie Fei discussed the customs and habits of Changsha in the early Han Dynasty according to the function of lacquerware excavated from the Mawangdui Han Tomb; Lin Weiwen made a preliminary discussion on the handicraft industry of Yue people in the pre-Qin, Qin, and Han dynasties; Yu Huaqing discussed the price of Qin and Han lacquerware; and Chen Zhenyu chronologically staged the Qin and Han lacquerware of the Hubei Warring States.
The research on the writing on Qin and Han lacquerware, including the interpretation of the text and the research on the origin and manufacturer of lacquerware on this basis, was the focus of research in this period, the main research was Song Zhimin's research on the lacquerware manufacturing handicraft industry of the Han Dynasty; Fang Shiming discussed some problems of the Han Dynasty "gongguan" from the excavated cultural relics; Xiao Kangda analyzed the lacquer inscriptions excavated from the Qin Tomb of Yunmeng Sleeping Tiger and the handicraft industry of the Qin Dynasty", "pavilion" and "city" local officials in the Qin Dynasty; Feng Zhenhao made a comparative analysis of Jiaodong, Linzi, and other aspects from the aspects of lacquer decoration. The Han Dynasty lacquerware excavated in the three areas of Linyi to infer their origin; Sun Binlai discussed the chronology and M1 master of the Ruyin Marquis lacquerware; Chen Zhenyu studied the Qin and Han lacquerware scripts of the Warring States of Hubei Province, and analyzed the origin of the lacquerware excavated from the Chu Tomb; Lan Riyong and Yang Xiaojing analyzed the inscriptions of the lacquerware excavated from the No. 1 Han Tomb in Luobowan, Guixian County, Guangxi; and Fu Yu reviewed the Han Dynasty lacquerware scripts.
During this period, the study of Qin and Han lacquerware from the perspective of craftsmanship and art became a hot topic, and Zhang Rong, Pi Daojian, and Zhang Chengzhi studied the shape and decoration of lacquerware; Hou Dejun discussed the relationship between the lacquerware excavated from the Mawangdui Han Tomb and the lacquer technology of the Chu State, and also made a preliminary analysis of the reasons for the emergence of the clamp lacquerware, and conducted a special study of the Chu lacquerware from the aspects of archaeological findings and its tire-making, lacquer-making, and relationship with Bashu lacquerware; Li Zhengguang analyzed the artistic achievements of the black-ground painted coffin of the Mawangdui No. 1 Han Tomb in Changsha Li Jinghuan studied the decorative art and cultural connotations of lacquerware excavated from the Mawangdui No. 1 Han Tomb; Wang Jichao discussed the status of Qin and Han lacquerware in the Warring States in the history of Chinese art; in addition, there are some review articles on lacquerware in the lacquerware catalogue.
Regarding lacquerware after the Han Dynasty, there are few archaeological discoveries and few research results in this period. Wang Shixiang studied two rhinoceros lacquer cups excavated from the tomb of Sun Wu Zhuran of the Three Kingdoms of Ma'anshan, Anhui Province; Sun Ji studied the lacquer coffin paintings of the Guyuan Northern Wei tombs starting from the production techniques, chronology, costumes, and the thoughts of the tomb owner; Chen Jing gave an overview of the lacquerware of the Three Kingdoms to the Yuan Dynasty; and Zhu Jialuan gave an overview of the lacquerware of the Ming Dynasty.
The third stage (21st century to the present): the stage of comprehensive development
The study of lacquerware is more comprehensive, including the tracking and exploration of new archaeological materials, such as the excavation of lacquerware from the tomb of Liu He, the Marquis of Haixia, and the in-depth excavation of existing archaeological materials, such as the excavation of lacquerware from the Mawangdui Han Tomb. For some aspects of the research has gradually become systematic, multidisciplinary cooperative research has gradually been promoted, basically outlining the general appearance of ancient Chinese lacquerware.
Two monographs have been published, one is That Zhang Feilong has made a comprehensive study of China's lacquer craft and lacquerware protection; the other is that Changbei has conducted a comprehensive study of the ancient lacquer decoration process and the East Asian lacquerware decoration process recorded in the "Catalogue of Lacquer Decoration". Pan Tianbo has also made important achievements in the compilation of ancient Chinese lacquer art historical materials. Zhuge Jiao mainly introduced the aesthetic value and cultural connotation of ancient Chinese lacquerware from the perspective of ornamentation; Chen Zhenyu discussed the inheritance and development of lacquerware production technology in China in previous dynasties; Chen Zhenyu's collection of papers included 19 lacquerware papers, including lacquerware production technology, modeling, ornamentation and text; Zhou Shirong reviewed the main characteristics, cultural connotations, and process overview of lacquerware unearthed in the Yangtze River Basin; Zhang Rong, Qiu Lu briefly sorted out and briefly analyzed the lacquerware data found up to the 20th century.
Regarding pre-Qin lacquerware, Shi Chao analyzed the lacquerware excavated from the prehistoric site in Zhejiang; Zhang Feilong and Zhao Ye discussed the origin and flow of Chinese prehistoric lacquerware culture; Zhang Feilong discussed the lacquer craft of Liangzhu culture; Li Na made a preliminary discussion on Liangzhu culture lacquerware; HongShi made a discussion on the lacquerware tradition in the pre-Qin ritual vessel unearthed from the Tengzhou Qianzhao Cemetery, the ShangZhou luodian lacquerware, the decoration process of the pre-Qin and Han lacquerware, and the turquoise lacquerware of the pre-Qin and Han dynasties; and Lu Yi discussed the lacquerware tradition in the pre-Qin ceremonial vessel Luo Yunhuan discussed the text on the lacquer cup from the Chu Tomb of Guodian No. 1 and the age of the tomb owner and Zhu Jian. Zhao Wucheng conducted an in-depth study of the painted cars produced in the Majiayuan Warring States Cemetery in Gansu Province, and divided them into V. types: I. cars are suspected to be "golden root" cars, which should belong to the chariot category, and are mostly decorated with gold, silver, copper, iron and glass beads and red agate beads; type II vehicles are chariots, gold, silver and various kinds of beads are used to decorate decorative materials, using copper and iron materials, and mostly see the overall paint of the car, vermilion paint; type III cars are suspected to be an iron car or a car, and the combination of the structure of the car is mostly connected and fixed with copper elbows, and the left and right D-shaped ears are often seen, and the overall paint of the car is mostly seen. Vermilion painted; iv. type car is suspected to be a rong car or a service car, a hunting car, a military car is a chariot, with oval style, circular style and square style; V. type car is only seen in one, the public car is a wooden plank structure, unpainted, no decoration.
With regard to Qin and Han lacquerware, Chen Chunsheng gave an overview of the Lacquerware of the Western Han Dynasty; Sun Ji made an analysis and study of the issues related to lacquerware of the Han Dynasty; Hongshi conducted an in-depth study of the production and management of lacquerware from the Qin and Han dynasties of the Warring States; Chen Songchang made an interpretation of the han Dynasty lacquer ruler drawings excavated from the Shuanglong Han Tomb in Haizhou, Lianyungang; Liu Fangfang conducted a study of the Warring States Qin and Han Dynasty makeup; Hu Yukang and Pan Tianbo made a preliminary exposition on the lacquerware handicraft industry and its folk culture characteristics in the northwest region of the Han Dynasty; and Hu Yukang and Pan Tianbo discussed the art of Qin and Han lacquerware in western China Ma Le conducted a preliminary archaeological study of the Warring States Qin and Han dynasty lacquerware; Zhu Xuewen discussed the application of the gantry method in the production of Qin and Han lacquerware in the Warring States; Wang Yile et al. studied the Confucius clothing mirror excavated from the tomb of Liu He of Haixia; Nie Fei discussed the inscriptions and related issues of lacquerware excavated from the tomb of Liu He of Haixia; Hongshi studied the gem lacquerware of the Han Dynasty, the cone painting lacquer excavated from the Mawangdui Han Tomb, the oil painting lacquer excavated from the Mawangdui Han Tomb, and the Western Han lacquerware drinking utensils. In addition, there are lacquerware catalogues with a large collection of lacquerware and a review of them.
There is not much research on lacquerware after the Han Dynasty. Zhao Ruimin and Liu Junxi analyzed and discussed the relevant issues such as the types of utensils, production processes, inscriptions, and places of origin of lacquerware excavated from the Northern Wei Mural Tomb in Shaling, Datong; Liu Guibin explored the lacquer painting process of the Northern Wei Sima Jinlong Tomb; Feng Yi analyzed and discussed the vessels, production processes, inscriptions, and places of origin of lacquerware excavated from the Jin Tomb of Linyi; and the inscriptions such as "Shang prison" and "Prison" on lacquerware commonly seen in the Han Dynasty, which were generally interpreted by researchers as product quality information, and Li Meitian believed that the Zhushu "prison" inscription specifically referred to the sacrificial animal meat, "going to prison" and "making a prison" It is the act of sacrificing livestock, reflecting the funeral customs in ancient funeral rites; Zheng Yan discussed the meaning of the images of the tombs of Gaoshi in the Southern and Northern Dynasties starting from the images on the lacquer plates excavated from the tombs of the Eastern Jin Dynasty in Nanchang; Xie Zaihua made a preliminary discussion on the carved lacquer of the Song Dynasty based on the lacquerware excavated from the Song Tomb in Chayuan Village, Fuzhou; Chen Shaolong sorted out the discovery and research of the Fujian Song Dynasty lacquerware; and Han Qian discussed the shape and staging of the Song Dynasty lacquerware.
During this period, breakthroughs were made in the study of Qin and Han lacquerware in the Warring States, and two research monographs were published. First, in 2002, Hongshi's doctoral dissertation "Research on Warring States Qin and Han Lacquerware" made a comprehensive study of the Warring States Qin and Han lacquerware, filling the gap in the monograph on the archaeology of the Warring States Qin and Han lacquerware at that time; second, Chen Zhenyu made a detailed analysis and study of the Warring States Qin and Han lacquerware groups. In addition, Hong Shi made a comprehensive study of Qin Dynasty lacquerware; Zhu Xuewen made a comprehensive study of Qin lacquerware; and Nie Fei made a comprehensive study of Hunan Chu han lacquer woodware.
Chen Jianming and Nie Fei edited the "Mawangdui Han Tomb Lacquer Ware Collation and Research" three volumes were published, the first volume discussed in detail the Mawangdui Han tomb lacquer ware typology, Mingtuo interpretation, and the interpretation of the book, and attached 13 cultural relics testing and analysis reports; the middle volume is a collection of 25 related papers, discussing several issues reflected in the Mawangdui Han tomb lacquerware, focusing on the hunan Chu Han lacquerware type and pattern variation law, lacquer craft characteristics, cultural factors, Lacquerware production and other contents; the next volume of the "Catalogue" published a large number of high-definition cultural relics color pictures. The book is the most complete collection of lacquerware materials from the Mawangdui Han Tomb so far, and has innovative points and unique highlights in terms of research methods and methods, research horizons, and interdisciplinary comprehensive research.
Fig. 19 Lacquer Spoon (M1 : 129)
Fig. 20 Lacquer pot (M1: 139-3-)
Fig. 21 Lacquer bottle (M1: 854)
The biggest feature of lacquerware research in this period is that scientific and technological detection and analysis methods are gradually promoted in lacquerware research. Jin Pujun et al. used slicing technology, X-ray diffraction spectroscopy, X-ray fluorescence spectroscopy and Fourier infrared absorption of light to study the lacquer process of two pieces of wood tire lacquer excavated from the Dongyang Han Tomb in Xuyi, Jiangsu Province. In order to study the manufacturing process and protection and restoration method of the batch of lacquerware, Jiang Chengguang and other samples were selected by scanning electron microscopy, X-fluorescence spectrometer, infrared spectrometer, X-ray diffractometer, etc. for a number of detection and analysis of moisture content, wood tire germplasm, paint film and paint ash composition. Jin Pujun et al. used optical microscopy, scanning electron microscopy/energy spectrometer, X-ray diffractometer and Raman spectrometer to conduct a preliminary study on the fragments of lacquerware excavated from the Northern Wei tombs in the southern suburbs of Datong, Shanxi Province; Yang Hailiang et al. discussed the composition of paint for cultural relics excavated from the Liangzhu site. Wu Shuangcheng and Cai Youzhen excavated 19 pieces of lacquerware fragments from the Han Dynasty cemetery in Rizhao Haiqu, Shandong Province, using stereo microscopes, X-ray flaw detectors, scanning electron microscopes, etc. for production process and material analysis, and the results showed that the lacquerware was a practical device; there was no paint ash layer bonding between ramie; and its easy storage of water was an important factor that made it susceptible to corrosion. Wu Shuangcheng and others also used microscopes and other instruments to analyze the gold and silver decoration process of several pieces of lacquerware excavated from the Haiqu Han Dynasty cemetery, and found that the gold ornament pieces were mostly embedded in the paint film layer on the lacquer ash layer, the silver ornament pieces and silver components were mostly embedded in the paint film and the paint gray layer, and there were depictions that were coordinated with the surrounding patterns at the junction between the gold and silver ornaments and the lacquer film, and the inlay process was preliminarily discussed; Daniel Zhang Jian and others made a preliminary discussion on the tang dynasty lacquer flat secret color porcelain bowl lacquer process excavated from the underground palace of Famen Temple.
Looking at the century-old archaeological research history of ancient Chinese lacquerware, it can be seen that with the development of Chinese archaeology, field archaeological discoveries have gradually increased, field archaeological technology has been continuously improved, and lacquerware that has been found in the past but is difficult to extract has been extracted and protected, and the data has also been published, which has continuously enriched lacquerware data and provided the necessary foundation for lacquerware research. Lacquerware research results are increasing, research content is constantly enriched, research methods are introduced, multidisciplinary combinations are carried out, and the research level is gradually improved. However, in general, the research on ancient Chinese lacquerware is not comprehensive and in-depth enough, and there are few comprehensive research monographs, and there are some gaps in academic research. Therefore, the research on ancient Chinese lacquerware still needs to be strengthened, and efforts should be made to reveal the distinctive originality of ancient Chinese lacquerware in the history of world civilization, to show the historical context of the origin and development of Chinese civilization, to show the brilliant achievements of Chinese civilization, to show the major contributions of Chinese civilization to world civilization, to build an archaeology of Chinese style and Chinese style with Chinese characteristics, and to better understand the chinese civilization that has a long history and depth.
(Author: Hong Shi Institute of Archaeology, Chinese Academy of Social Sciences; originally published in Southern Cultural Relics, No. 4, 2021; notes omitted here) The illustration is a lacquered wooden ware excavated from the tomb of Liu He of the Western Han Dynasty in Nanchang, Jiangxi Province, which comes from the Internet, and the article is transferred from the "Archaeology" WeChat public account