II.Lacquer paintings on shelf（Lacquer language/Contextlanguage）

Lacquer painting is a form of lacquer art on shelf.As a form on shelf,Chinese oil painting is a kind of painting which follows the value standard ofmany western schools,and it is the first to put forward nationalization ofoil painting and search for its own value.Imagery oil painting and enjoyableoil painting are results of the above efforts.Should lacquer painting benationalized？Or,conversely,has lacquer painting been westernized？At least,lacquer painting has been westernized in terms of visual habit.Modern lacquer painting is named with the symbol of western languagecontext.Lacquer painting is the ancient language of Chinese vision,whichis evolved from the lacquer-painted decoration of ancient lacquer waresand becomes an important carrier of juvenile period of Chinese painting.From Warring States Period to Ming and Qing Dynasties and the periodof republic of China,the cultural context of lacquer painting had neverbeen interrupted.However,due to our lack of organization and studieson the lacquer painting,we cut off the history of China's art of statue,which is shaped after thousands of years,with the influence of acceptingJapanese and European fine art education for nearly one hundred years.People always hope that history can be written from themselves,so theyaccept the lacquer painting in the western language context and define it as modern lacquer painting.However,we pay more attention to whatchanges and creations have taken place to the language of China's lacquerpainting under the influence of thoughts agitation for a century.We do notrefuse the enlightenment of western paintings to the oriental ones for onehundred years,but we are more concerned about the extension and growthof Chinese cultural context in lacquer painting.

After the awakening of individuals,or after artistic freedom,the biggestconfusion of modernity is the entanglement which is difficult to choosebecause of information surplus.In the art forest where the cosmopolitanismstrives against orientalism and various schools compete with each other,therepresentation of modernity is westernization of education of non-westerncountries.Looked to the West for inspiration,realism and modernism havebecome the principal axis of shelf education at colleges.Hence,whenlacquer painting is introduced into colleges,it is painted realistically anddecorated,and then is deconstructed.When realistic painting is becominggaudy,pope and cynic,or gradually towards decomposition,performanceand abstract,will its form and color reach the other side of idea？Modernismis an important way of language training.When painting and modernismare over interpreted,will the ancient lacquer painting occupy a tiny space inthe western value system？It is unpredictable.

Emphasis on the inheritance and development of cultural context ofChina's lacquer painting can reflect the theme of this exhibition which isto establish terminology bank and value chain of Chinese lacquer art.FromShen Fuwen who was born in1906to those new artists who were born in1980s,this exhibition selected33representative lacquer painters to showpersistent lacquer painters of different language directions at various stagefor nearly a century.

As mentioned earlier,the style of Shen Fuwen is between ethnic styleand realism.The earliest two language pursuit of China's modern lacquerpainting are fully reflected in the painting of Wang Heju and Qiao Shiguangwho were born in1930s and that of Zhan Shu'an and Chen Lide who wereborn in1940s.Wang Heju absorbs inspiration from rock paintings,papercutting and patterns of ancient paintings,and Qiao Shiguang inheritsthe decoration style of the beauty of Chinese craft which makes lacquerpainting presented same style with Chinese quintessence in terms ofmaterials,techniques and patterns.Zhan Shu'an and Chen Lide let theoriental lacquer-painted decoration with a history for thousands of yearsencounter western shadow technique of centurial history,which realizessubtle painting expressed with three dimensions.

Carnap is the first to put forward the language stratification theory,hethinks："There are two involved languages：one is the language we arestudying,we call it object language；and the other is the language we areusing for discussing the form of object language,we call it form language（namely metal language）."The metal language of vision is the metaltheory for critics to conclude and explain the object language.It is alsothe methodology applied for the creation of object language by artistesconsciously or unconsciously,and it is an advanced form of logic.

Writing,material language and public image language…those resources canbe applied for creation of vision in certain forms and rules by any person,which can be regarded as available metal language of vision for everyone.Such problem does not exist that if anyone uses those resources,otherpeople will not have the right to use them.Writing is a normal application inmany kinds of paintings,so writing of lacquer expands infinite space afterLi Xiqi.The writing he has borrowed is the metal language of vision thathas accumulated over thousands of years in China,but what he wants toexpress only belongs to his object language.

The order to apply metal language does not represent the level of workachievement and value,and the practice of others presents their uniquecultural background and comprehensive qualities.There is an old sayinggoes："Even drinking the same water from the same river,the spring andautumn are still different in the eyes of different people."

Compared with other mass art media material,the research and applicationof writing of lacquer metal language is just a beginning.The writing is animportant direction to develop the metal language of lacquer painting,and has deep relationship with China's cultural context of line shaping.Apeak of Chinese line art is in Han Dynasty where the tall,dense,smooth andslender lines are used to draw and write in the decoration of lacquer wares.

The fight between sticky elasticity of lacquer and gravity of earth providesinfinite possibilities for the writing of lacquer on the practice of objectlanguage.

Similar to the problem of writing,public images or same themes havebecome a controversial topic.In fact,as a creation motif of objectlanguage,Huian women,created from Wu Chuan,Chen Jinhua and TangZhiyi to Zheng Yuntao and Zhou Jian,all reflect skill height,popular patternsand aesthetic tastes of their own age.The awareness of occupying ranksin the field of language possibilities is performance of decline in creativity.Lacquer painting is a form that has not been fully developed,and eachcreator can only carry out a limited study work in the direction towards hisadvantages for a lifetime.The possibilities of language of vision are infinite,and the mystery of metal language and object language can never becompletely touched by individuals.

It is noticeable that lacquer painters who stick to Chinese cultural contextof lacquer painting,starting from three key words of modernism—material,technique and pattern,pay more attention to think any concept that canactivate their artistic thoughts,such as defamiliarization,deconstruction,reorganization,suspension,blocking,ambiguity,parody,irony,etc.They continuously observe those artistic methods and languages in theapplication of lacquer painting,and the lacquer painting on shelf which isfull of oriental flavor and wisdom should have a broader prospect.