从标出性反思中国当代漆艺的争论与发展——基于近20年全国性漆艺展作品  

Reflecting on the Debates and Development of Contemporary Chinese Lacquer Art from the Perspective of markedness--Based on Works from National Lacquer Art Exhibitions Over the Past 20 Years

作　　者：张培枫[1] 涂明谦[1] ZHANG Pei-feng;TU Ming-qian

机构地区：[1]福建师范大学传播学院,福建福州350117

出　　处：《中国生漆》2024年第2期40-46,共7页Journal of Chinese Lacquer

基　　金：教育部人文社科一般项目(22YJA760108);福建省教育科学“十四五”规划常规项目(本科)项目(FJJK-BK22-195)的阶段性成果。

摘　　要：中国当代漆艺从工艺美术向纯艺术突进过程中,因身份认同割裂而存在多种争论。本文以近20年来的11个全国性漆艺展作品为样本,统计参展作品的类别、工艺和图式,先进行内容分析,再通过spss进行对应分析。结合定量与定性方法,得出当代漆艺的标出性特征是“镶嵌”与“变涂”等工艺为主的,多材料、偶发效果和抽象图式表达。通过标出性探讨,解答当代漆艺多元发展引发的争论,并反思漆艺进入现代后,从材料到工艺以及表现中的价值旁落与重建。The transition of contemporary Chinese lacquer art from applied crafts to fine arts has sparked diverse debates due to the fragmentation of identity recognition.This article studies 11 lacquer works from national lacquer art exhibitions held over the past two decades,analyzing the categories,techniques,and patterns of exhibited works.Initially,a content analysis is conducted,followed by a correspondence analysis using SPSS.Integrating quantitative and qualitative methods,the research identifies the salient features of contemporary lacquer art,primarily characterized by techniques such as"inlay"and"color variation,"along with the multiple materials use,serendipitous effects,and abstract pattern expressions.By exploring markedness concept,this paper addresses the controversies arising from the pluralistic development of contemporary lacquer art and reflects on the marginalization and reconstruction of value in materials,techniques,and representation as lacquer art has entered the modern era.

关 键 词：漆艺 标出性 工艺 图式 

分 类 号：J527[艺术—艺术设计]