On the combination of Marxism and Chinese lacquer culture
DOI:
https://doi.org/10.61173/g64azq02Keywords:
Marxism, lacquer culture, lacquerware, lac-quer art, Lacquer, combineAbstract
Lacquerware originated in China, and Chinese lacquer culture, as a category of excellent traditional Chinese culture, also has the characteristics of a long history and broad and profound. However, at present, lacquer art is facing the prospect of not being taken seriously, and lacquerware has not yet entered the public eye compared to porcelain, which is also a Chinese handicraft. In addition, there are fewer and fewer lacquerware practitioners, and the current lacquerware market is not good. It is worth noting that at present, some of the main lacquer production cities and counties in China have created the form of “national lacquer + tourism” and with the popularity of lacquer fans, Chinese lacquer culture has begun to regain its charm. The report of the 20th National Congress of the Communist Party of China pointed out that “to uphold and develop Marxism, we must combine it with the excellent traditional Chinese culture.” Only when it is rooted in the fertile soil of the history and culture of the country and the nation can the tree of Marxist truth take root and flourish. “Marxism and the excellent traditional Chinese culture are compatible in many aspects in terms of value tendencies and thinking habits. As one of the contents of China’s excellent traditional culture, Chinese lacquer culture and Marxism must also be related.
References
Beijing: Cultural Relics Publishing House,1982: 1-12. vation” of Chinese lacquer culture [2] Zhang Feilong, The Historical Evolution of Chinese Lacquer
The developmental nature of Marxism is reflected in the Culture, China Lacquer, 2002, 2, 1; Dean&Francis Hongbin Zheng [3] Zhang Feilong, Research on the Historical Origin of Chinese craftsmanship to the empowerment of lacquer artists: Based on
Lacquer Culture, China Lacquer, 2006, 3; the investigation of new and old folk lacquer art settlements in [4]CHEN Qiurong. On the inheritance and openness Fuzhou of contemporary Chinese lacquer culture[J].China [6] Zhai Xuewei, “The Reproduction of Human Feelings, Face
Lacquer,2014,33(03):38-40; and Power: The Social Exchange Mode in a Rational Society”, [5] The inheritance of lacquer art from the patriarchy of Sociological Research, No. 5, 2004, pp. 48-57
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