中国漆艺在上世纪下半叶开始了史无前例的两大历史进程:一是让漆艺从民间转移至高校成为一门学科,使文化资源建构成一种语言和价值体系,它关注的是漆语言形式的现代性;二是使漆艺从工艺美术转换成当代艺术的一种表达方式。它强调的是用媒材演绎的思想者的素质,它演绎的是漆语言观念的现代性。上世纪未在形式觉醒,图式爆炸、材料实验的语境影响下年轻一代从不满足图式开始,纷纷寻找当代语言转换的突破口,于是我们看到作为学科和语言基础的材料。在漆艺现代性的第一个进程中分野了:有以大漆为主、其它材料为附的兼容 China lacquer art in the second half of the last century began two unprecedented historical process: First, the transfer of lacquer from folk to colleges and universities to become a subject, the cultural resources into a language and value system, which is concerned about the paint The modernity of language form; the second is to make the art of painting from the arts and crafts into an expression of contemporary art. It emphasizes the quality of the thinkers deduced from the medium, which deduces the modernity of the paint language concept. In the last century, under the influence of the form awakening, the schema explosion and the material experiment, the younger generation never met the schema, and searched for the breakthrough of contemporary language conversion one after another. So we saw material that is the basis of subject and language. The first process in the modernity of lacquer art is divided: there are mainly lacquer, other materials are attached to the compatibility