Liang Yuan Lacquer Art

Author: Liang Yuan
Publisher:
Publish Date: 2006-08-01
Features: The ancients discovered natural lacquer and created lacquerware that was both beautiful and functional. Today, people have further explored the aesthetic potential of natural lacquer, giving rise to purely decorative lacquer paintings and lacquer sculptures. The term "lacquerware" can no longer encompass these developments, leading to the concept of "lacquer art." From another perspective, lacquer art can be divided into two parts: flat and three-dimensional. Lacquer painting is flat, while lacquerware and lacquer sculpture are three-dimensional. However, this classification is far less precise than the concepts of lacquerware, lacquer painting, and lacquer sculpture. For example, lacquer painting is a form of painting created using lacquer, and the concept is very clear. If it were called a "flat work," it would be too vague. Just as tea, though also a beverage, does not need to be called a beverage—it is better to call it tea. In Liang Yuan's view, three-dimensional and flat, lacquer painting and lacquer sculpture are all unified. In his early works, Liang Yuan primarily focused on lacquer painting, ranging from decorative realism to abstract expressionism. The former, such as The Tibetan Woman, and the latter, such as The Source, are both excellent works. Regardless of which direction he pursues, he will undoubtedly succeed, but he remains unsatisfied and is determined to innovate. In recent years, he has shifted his focus to three-dimensional sculpture—lacquer sculpture. With the transition from lacquer painting to lacquer sculpture, Liang Yuan has also changed his material usage from a combination of natural and synthetic lacquer to using only natural lacquer exclusively. Perhaps due to the expressive needs of lacquer painting, Liang Yuan had to use synthetic lacquer. He cleverly adapted to the properties of the material, consciously embracing the "chains" of natural lacquer, thereby achieving expressive freedom. The unique natural charm and beauty of natural lacquer are fully brought to life. For example, Untitled is a work where semi-transparent reddish-brown lacquer is applied to a red lacquer base, creating a sense of simplicity, subtlety, and depth due to the varying thicknesses of the lacquer layers. Another example is Autumn, where an abstract texture is first carved into the leaf-shaped body, followed by the application of silver foil and then lacquer polishing, resulting in a brilliant, luxurious, and mottled beauty. Yet another is Composition, which involves applying over 20 layers of green lacquer with varying brightness and purity, and then polishing to achieve a mysterious yet clear beauty—qualities that cannot be replicated by other materials. In the current context, where most lacquer artists in China use synthetic lacquer, Liang Yuan's "reflection" is particularly valuable. May this be a sign of the "return" of Chinese lacquer art to its roots. Liang Yuan is an introverted, calm, and unassuming person who is not good at speaking but possesses skillful hands—he is a practical artist. He is dedicated to perfecting his techniques, and his polishing and burnishing skills are unmatched among lacquer artists in art academies. His artistic beauty is supported by his technical expertise. His talent is expressed through his hands, and his thoughts are conveyed through his works. For many years, in addition to teaching, he has also held administrative positions, from department head to vice president, which have consumed most of his time and energy. He only finds time to work in his studio during gaps in his schedule—before meetings, after classes, during lunch breaks, and on holidays. He has been relentless for decades, painting and polishing with unwavering dedication. His works are not created for awards or sales but purely out of passion. This reflects his devotion and deep affection for lacquer art, which is also a key reason for his success. Liang Yuan has been engaged in lacquer art for over 20 years, moving from flat to three-dimensional, from figurative to abstract, and forging his own path. If I were to offer any advice, I believe there is still great room for exploration in the decorative beauty of lacquer art, and practical lacquerware could also be an avenue to explore—perhaps these are already part of Liang Yuan's plans. Liang Yuan is at the prime of his life, and on this solitary yet arduous journey, I wish him even greater success.