中国范儿141 漆器：层层髹涂的匠心

漆器：层层髹涂的匠心

Lacquer ware: The ingenuity of “Xiu Painting”

红墙金瓦、汉白玉桥，肃穆庄严，这大概是故宫留给人的第一印象。而在这红墙之内，更有一抹红色，虽居深宫，却挡不住的光彩照人，这便是古老的漆器。

　　Crimson walls and golden tiles flickering in the light, a pristine white marble bridge, standing silent solemn--- this is probably the first impression given by the Forbidden City. On its red wall is a hint of a deeper red, its brilliance shining through the layers — it is the ancient lacquer.

　　漆器是将漆树的汁液提炼成色漆，髹（xiu）涂在器物胎骨上雕制而成的。在胎体上涂抹大漆的工艺称之为“髹”，髹漆是一件十分繁复、非常考验耐心的技艺。每一层的髹涂都见功夫，而每层髹涂之间的等待又考验着匠人的耐心。在此过程中，漆器艺人还会运用多种技法对表面进行装饰。漆层在潮湿条件下干燥、打磨，固化后表面非常坚硬，有耐酸、耐碱、耐磨的特性。漆器的制作不是一件一鼓作气、旦夕可成的事情，它需要匠人默默地沉浸在时间长河里，一次次地髹涂，一次次地等待。那是快节奏的现代人难以理解的工匠精神。

　　Lacquer ware is made by extracting the sap of lacquer tree into colored lacquer and painting it on the body bone of the utensil. The process of applying lacquer on the carcass is called "Xiu"( layer by layer painting). It is a very complicated and patient skill. Each layer of painting needs exquisite skills and the waiting between each layer can test the best craftsman's patience. In this process, lacquer artists use a variety of techniques to decorate the surface. The layer of paint is dried and polished under humid conditions and its surface hardens after curing, with characteristics of acid resistance, alkali resistance and wear resistance. The production of lacquer ware cannot be accomplished overnight. It requires the craftsman to quietly immerse himself in the art, painting again and again, and waiting again and again. That's the spirit of traditional craftsmanship that fast-paced urbanites dependent on instant gratification may not understand.

　　说到漆器的技法，更是多种多样，有描金、斑漆、螺钿、百宝嵌等等。令人惊叹的是，漆器经过上百次的打磨，可抛光到与瓷器相媲美。自新石器时代起源，发展至宋元，漆器制造已至炉火纯青之境。彼时，一项新技法——雕漆工艺逐渐纯熟，工匠们以刀代笔创造了这门伟大的技艺，他们在器物上反复髹涂几十层乃至上百层漆，阴干后再雕刻人物楼台花草。乾隆年间的雕漆作品可谓是此工艺的集大成者，雕漆重刻工而轻磨工，例如，故宫藏品《剔红山水人物流觞图扁圆盒》《剔红兰亭宝盒》等，纹饰繁缛，精工纤巧，并向屏风、宝座、家具等大件发展。

　　When it comes to the techniques of lacquer ware, there are many kinds of lacquer ware, such as tracing gold, spot paint, mother-of-pearl and treasure inlay. But what’s truly amazing is that after hundreds of rounds of polishing, lacquer can resemble porcelain. Since the origin of the Neolithic Age to the Song and Yuan dynasties, lacquer ware manufacturing touched new heights. With time, techniques of carving lacquer became more sophisticated. Craftsmen used knives to carve instead of writing. They repeatedly painted dozens of layers of lacquer on the objects, sometimes even hundreds of layers. After drying them in the shade, they carved flowers and plants. The lacquer carving works during the reign of Qianlong can be regarded as masterpieces of this craft. The carving of lacquer emphasizes the carving work but ignores the grinding. For example, the collection of the Imperial Palace, such as < Oblate Carved Lacquer Ware of Persons Drinking and Reciting Poetry by Mountains and Rivers > and < Carved Lacquer Ware Box of Honglan Pavilion>, has complicated patterns and exquisite craftsmanship, and has been used to adorn large pieces such as screens, thrones and furniture.

　　腐朽，是所有木器的宿命，留存百年已属少有，传承千载更是罕见。而人类先民对漆的发现和运用，打破了这一自然规律，现今发现最早的漆器，可以追溯到8000多年前。漆器最早因防腐而做，却最终发展成一种独特的器物。在今天的故宫博物院，收藏有一万七千余件漆器文物，跨越千年，每一件都散发着浓郁的时代与地域特色。见证了历史更迭，让这些漆器文物也沾染了许多的灵气。幸运的是，人们越来越注重对文物的保护，几代匠人坚守在此，用传统的方法对这些文物进行修缮与保护，将传统技艺之美传递下去，守护好这层层髹涂的匠心和留给世界的财富。

　　To decay is the fate all wooden objects meet. It is rare for them to survive for a hundred years and it is much rarer to inherit them for thousands of years. The discovery and application of lacquer ware by our ancestors disrupted this law of nature. The earliest lacquer ware discovered today can be traced back to more than 8,000 years ago. Lacquer ware was first meant for anti-corrosion, but eventually developed into a unique form. In today's Palace Museum, there are more than 17,000 pieces of lacquer ware in collection, each of which carries strong characteristics from its times and region. In a way, they are storehouses of cultural history. Fortunately, more people are paying attention to protection of cultural relics. Several generations of craftsmen have continued to repair and protect these cultural relics with traditional methods, passing on their traditional skills and thus protecting cultural wealth.

来源：中国网

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