IV.Lacquer art of foreign countries
As with the previous international lacquer exhibition,artists from Japan,South Korea,Vietnam,America,European countries and Chinese Taipei haveshown their consistent level and characteristics,especially artists fromJapan and Vietnam.The tradition of learning and teaching is conducteduninterruptedly by dozens of generations of descendants in the field oflacquer art in Japan.They absorb the context of western modernism andpost-modernism,and remain the expression and confidence of orientalmedia material at the same time.It may be the most vivid reflection of"Japanese spirits,but Western materials"proposed by Japanese ideologistFukuzawa Yukichi in the field of lacquer art in Japan where greatly stressesclassic inheritance.Lacking uninterrupted accumulation by dozens ofgenerations,Chinese lacquer art ushers in the beauty of western style inthe background of deep cultural fault of lacquer,which is the context ofweak culture facing the modernity of Chinese lacquer art home and abroad.At the beginning of last century,Shen Fuwen and Li Zhiqing successivelylearned in Japan,which marks the end of cultural fault of lacquer.
If Japan lacquer art is a mirror,Vietnam lacquer painting is another goodexample for China's lacquer painting.There are a dozen of lacquer painterswho was born in1900or1910s,and they are Ruan Jiazhi's contemporaries,such as Fan Hou（1903—1995），Chen Wenjin,Ruan Wengui and Chen Tingshou.However,there are only two or three lacquer painters in the same periodof China,such as Shen Fuwen.It is noticeable that the first generation oflacquer painters in Vietnam has completed the important process of findingthemselves by learning from the West in the1930s,while leaders of lacquerpainting in various regions of China are still in their childhood or juvenileperiod in1930s.The work describing great scene of national temple fair wascompleted by Ruan Wengui at19years old.They own instinct prematurewisdom in materials,techniques and national awareness of patterns oflacquer paintings.The invited three generations of Vietnamese lacquerpainters are representatives to keep national characteristics in the influenceof western paintings.
To varying degrees,Japan and Vietnam both present national confidencein lacquer art.It should be said that if people are more confident totheir culture with educated quality and accumulation,they will be morecomfortable in art creation.
As an important center of lacquer art in modern and contemporary times,Fuzhou owns a good tradition of lacquer culture.Studies on lacquerlanguage in different stage all present different thinking models：from"Studying the nature of things"proposed by folk workshops representedby the Shen family,to"Information aggregation and problems tackling"oflacquer art research institutes after the foundation of the People's Republicof China,to"Point-line-surface creativity"of lacquer art studios after thereform and opening up,until the model of"from technology form to subjectform"of colleges and universities in the new century.With rich lacquertechniques and lacquer language and wide and various platforms forlacquer exchanges,Fuzhou will absolutely keep its proper height and spiritin the era of lacquer language,and continue to promote the prosperity anddevelopment of China's lacquer art.