宋、清浙江描金漆器审美意趣差异——以北宋檀木经函与泥金彩漆提桶为例  

Differences in Aesthetic Interest of Zhejiang Gold Painting Lacquerware in Song and Qing Dynasties--Take the Northern Song Dynasty Sandalwood Scripture Letter and Clay Gold Color Paint Bucket as an Example

作　　者：李琰纯 江崖[1] Li Yanchun;Jiang Ya(Hangzhou Normal University)

机构地区：[1]杭州师范大学

出　　处：《流行色》2023年第2期84-86,共3页Fashion Color

摘　　要：温州出土的北宋檀木描金堆漆经函与宁波泥金彩漆提桶具拥有“堆泥、贴金”的特征,从工艺技法上来看一脉相承。然而从宋到清的357年间,并未在浙江出现此类描金堆漆漆器的身影,描金堆漆工艺技法在漫长的岁月中也有了些许改变。现试以北宋檀木经函与宁波泥金彩漆提桶为例探究与分析两朝之间浙江描金漆器艺术风格的流变。The Northern Song Dynasty sandalwood gold-tracing pile lacquer scripture unearthed in Wenzhou and the Ningbo mud gold painted bucket have the characteristics of"piling mud and sticking gold",which are in the same vein from the perspective of craftsmanship.However,in the 357 years from the Song Dynasty to the Qing Dynasty,there was no such gold tracing lacquer ware in Zhejiang,and the gold tracing pile lacquer craft technique also changed slightly over the years.Taking the Northern Song Dynasty sandalwood scripture and the Ningbo mud gold lacquer bucket as examples,we will explore and analyze the rhetoric of Zhejiang gold tracing lacquer art style between the two dynasties.

关 键 词：漆艺 清代 宋代 浙江 

分 类 号：K87[历史地理—考古学及博物馆学]