Traditional Chinese lacquer art and painted sculpture are both important carriers of national aesthetic genes, with distinct differences in color expression. Lacquer art takes "black" as its main background color, embodying profound and solemn cultural meanings, while painted sculpture emphasizes "colors", creating vivid and dynamic artistic effects through multiple color layers. Based on archaeological findings and in-depth research, this paper comprehensively analyzes the contradictory unity between the "black" of lacquer art and the "colors" of painted sculpture from three perspectives: cultural semiotics, craft characteristics, and aesthetic experience. It attempts to demonstrate the dialectical relationship manifested when the two integrate in materials, reconcile in aesthetics, and infiltrate in culture. Such analysis not only deepens the understanding of the underlying principles of traditional handicrafts but also provides credible theoretical support and guidance for the sustainable development and improvement of traditional crafts in modern society.