藏族传统美术“热斯”工艺与汉地“干漆夹”工艺比较研究  

A Comparative Study of the Traditional Tibetan Art Craft of“Resi”and the Chinese Craft of the“Dry-lacquer Sculpting Technique”

作　　者：汪洋 Wang Yang

机构地区：[1]西藏大学艺术学院

出　　处：《西藏艺术研究》2024年第1期60-66,共7页Tibetan Art Studies

摘　　要：吐蕃赤松德赞时期,藏族手工艺者利用棉布和纸的结合创造出“热斯”工艺,至今已有1200年的历史。“干漆夹苎”工艺作为中国传统优秀工艺代表之一,早在河姆渡时期已出现,在中国工艺美术行列中占据着重要的地位。同为“夹纻”工艺,本文从中华民族交往、交流、交融视角,比较研究了藏族传统美术“热斯”工艺与汉地“干漆夹纻”工艺特点。旨在对比藏族传统美术中的热斯工艺与汉地干漆夹纻工艺,通过剖析两工艺的历史及制作流程特点,从中探索二者的异同。During the time of Chisong Detsen,Tibetan artisans used a combination of cotton cloth and paper to create the“Resi”craft,which has a history of 1,200 years.As one of China's finest traditional crafts,the“dry-lacquer sculpting technique”appeared as early as the Hemudu period and occupies an essential place in the overall ranking of Chinese arts and crafts.This paper aims to compare and contrast the traditional Tibetan“Resi”craft with the Chinese“dry-lacquer sculpting technique”and to explore the similarities and differences between the two crafts by analyzing the history and characteristics of the production process.

关 键 词：热斯 干漆夹纻 工艺比较 

分 类 号：J5[艺术—艺术设计]