探析脱胎漆器发展与路径  

Explore the pathway of development of bodiless lacquerware

作　　者：王尚林[1] 徐丽丹 Wang Shanglin;Xu Lidan

机构地区：[1]西安生漆涂料研究所,陕西西安712000 [2]贵州名族大学,贵州贵阳550025

出　　处：《中国生漆》2022年第2期60-63,共4页Journal of Chinese Lacquer

摘　　要：经考古验证,中国脱胎漆器最早出现于战国中期,后随着不同朝代文化、技术等发展,形成具有代表性意义的夹纻造像工艺,并兴起汉代、盛行唐代,乃至传播海外。通过对比国内外脱胎漆器,发现当下国内脱胎漆器主要存在发展方向不够明确、传统审美不适应社会需求、生产周期比较长、工艺过程比较复杂等不足,必须在技艺传承人的培育、文化生态环境的保护、史料数据库建设、多方协调保护体系构建和新时代使用方式创新等方面下功夫,让脱胎漆器走进现代人们的视野中并加以使用,成为大众所喜闻乐见的器具。According to archaeological verification, Chinese bodiless lacquerware first appeared in the middle of the Warring States Period, and then with the development of culture and technology in different dynasties, the typical Lacquer sculpture craft was formed which had originated in the Dynasty and prevailed in Tang Dynasty, and even spread overseas. By comparing bodiless lacquerware at home and abroad, the article found that the development direction of bodiless lacquerware at home is not clear enough, the traditional aesthetic does not adapt to social needs, the production cycle is long, the process is complicated and so on. It is necessary to make efforts in the cultivation of art inheritors, the protection of cultural ecological environment, the construction of historical data database, the construction of multi-party coordinated protection system and the innovation of usage in the new time, so as to make bodiless lacquerware come into the vision of modern people and becomes a popular utensil in the daily life.

关 键 词：脱胎漆器 发展 特征 创新 

分 类 号：J527[艺术—艺术设计] K876.7[历史地理—考古学及博物馆学]