印笼为例谈唐代中日漆艺文化交流  

Study on Sino-Japanese lacquer culture exchange in Tang Dynasty-take Inro as an Example

作　　者：郑勇[1] 陈杰[1] Zheng Yong;Chen Jie

机构地区：[1]天津工业大学艺术学院,天津300387

出　　处：《中国生漆》2023年第1期19-23,共5页Journal of Chinese Lacquer

基　　金：天津市教委科研计划项目+2019SK0+工艺美术专业漆艺课程体系建构与人才培养模式研究;天津工业大学2021年度学位与研究生教育改革项目+工艺美术方向研究生课程体系建构与人才培养模式研究;天津市教育科学规划课题—DGE210040—京津冀教育协同发展研究。

摘　　要：目的是对“印笼”造型和审美意蕴进行分析。通过剖析“印笼”的演变来深度解读唐代中日漆艺文化交流情况,利用理论梳理、田野调查和调研分析相结合,将“印笼”造型、材质、审美综合研究比较,探寻古代器物美学之道。“印笼”作为古代的印章和药品的包装是东方文化荟萃载体,其多种材料、繁复的装饰都能作为研究唐代中日交流的媒介,其蕴含深厚的审美、文化和技艺传承值得不断探索和钻研。The purpose of the study is to deeply interpret the lacquer culture exchange between China and Japan in Tang Dynasty through analyzing modeling and aesthetic implications of Inro and the its evolution.With using combination methods of theory,field surveys,and investigation,the article explores the aesthetics of ancient wares through a comprehensive study on Inro's modeling、material and aesthetics.As an ancient packaging for medicines and seals,Inro is not only a carrier for oriental culture but also as the study medium for culture exchange between China and Japan by analyzing its various material using and find decorations.Therefore,its profound aesthetic,cultural,and artistic heritage are worth exploring and studying continuously.

关 键 词：印笼 漆器 无用之用 莳绘 

分 类 号：J537[艺术—艺术设计] K242[历史地理—历史学]