Lacquer art is not the mainstream of collection for many reasons. Lacquer art originated in China. According to Ten Pieces of Everything Done by Han Feizi, China began to use lacquerware in Yu Shun period. After the development of the Spring and Autumn Period, the Warring States Period, the Han Dynasty, the Yuan Dynasty and the Ming Dynasty, the lacquer craft reached its peak in the Qing Dynasty. Lacquerware was very popular in the imperial palace of the Qing Dynasty and also in Japan. Japanese lacquerware craft is very exquisite. Because of the spirit of advocating lacquer, every family is proud of owning a lacquer bowl, and the government also has corresponding protective measures. In Japan, the inheritance of lacquer art is still dominated by family inheritance, which inherits exquisite and advanced traditional crafts, but it affects the development speed of lacquer art. At present, Japanese lacquer art is in a shrinking period.

It is understood that ancient lacquerware pays attention to "one hundred miles, one knife, one paint and two paints". This means that you have to walk 100 miles and chop 1000 times on the sumac tree to get one or two. In the production process, it must go through hundreds of processes, such as tire, water filling, polishing and original paint adjustment. This process is famous for its triviality. There are more than 20 major processes, from material selection, embryo forming, decoration to finished products, and production and drying in the shade are also very time-consuming. Therefore, it often takes several months for a piece of equipment to enter the factory, and the finished product needs to be sealed in the shade for a longer time.

In recent years, lacquer art has gradually recovered in China, but it is still a minority. "Traditional crafts are still far from modern times. From the perspective of modern aesthetics, they seem to be out of date. " Ye Zhihao tried to integrate the material aspects of traditional lacquer forms and techniques into emotional elements and fashion elements. He believes that the most important thing to promote lacquer art is to win the attention of the market and be accepted by the market. Perhaps this is a way to integrate lacquer art into daily life. "People are not interested in it before using it."

As far as collection is concerned, contemporary lacquer art works can still be said to be blank, even in the international collection of contemporary lacquer art, there are very few. "The series is still in its infancy and there is a lot of room for appreciation." Ye Zhihao revealed. So, how should we collect lacquerware to identify it? Ye Zhihao proposed that the value of works of art should not be measured by time, nor should it return to the artistic value essence of the works themselves. "At present, some lacquer paintings are expensive because of the long production time, but it is difficult to get a response in the market." Before collecting lacquerware, we need to know something about lacquerware culture. We need to review history and understand the connotation of technology. Secondly, how artists use artistic concepts and the artistic content of their works.