大匠与漆时代
阮界望
宇宙万象轮回侘寂，人类皓首穷经地窥探其博大、质朴、素雅、清幽、神秘之蕴藏，古往今来漆艺匠师心手相依虔敬的造物精髓浸润大漆的幻化之美，物性素朴烘托心境诗意，造物呼吸衔接自然感通，精进技艺大道于漆韵缥缈，大匠人格品性奠定造物境界的灵魂。《诗经》
描写匠心造物曰：如切如磋，如琢如磨。可见自古以来尽善尽美就是中国匠人匠心追求造物出发所秉持的根本心念。华夏先民用人、木、水造字为“漆”，中国是人类最早发现和使用大漆髹器饰物的民族，舜作食器，禹作祭器，漆绘殿宇、琴瑟悠扬、帝王之尊，从古至今漆之用可谓大矣。
中国漆文化最早出现于新石器时代，历经夏、商、周至春秋战国时漆器工艺日臻成熟，承载了楚文化的神韵，用途广泛，不仅用于日常生活，也用于祭祀活动，常用朱、黑两色髹涂。殷商时代已经有了雕琢刻镂的漆工艺。汉代达至鼎盛，漆器品种包括鼎、壶、钫、樽、盂、卮、杯、盘这些饮食器皿，奁、盒这些化妆用具，几、案、屏风这些家具，品目繁多，并出现了漆礼器以代替铜器。汉墓出土有漆棺、漆碗、漆奁、漆盘、漆案、漆耳杯，并在黑漆上绘红色或赭色花纹，展现了人神共存、变幻神奇、流动魂飞的远古漆语，是华夏悠久文化艺术的神秘斑斓世界。后经衰微，至魏晋南北朝时期漆器与绘画相结合，突破了平涂的局限，出现了晕色新技法，更富有立体感。
至隋、唐、五代漆器匠人制作向工艺品发展，精益求精，出现了干漆夹纻佛造像、螺钿金银平脱镶嵌、剔红雕镂的精妙绝伦的手工艺。
两宋时期漆器业得到普及，形成规模作坊，官府设立专门机构管理制造御用漆器，民用漆器也开始走向市场。元代漆器成就在于雕漆，刀法丰硕、圆润细巧、极致精微又浑朴天成。明代漆器受宫廷重视和宠爱，是中国装饰漆器的高峰期，宫廷作坊里皇室监制下的漆器越加剔透华美、研磨精致、样式繁多，万历时期，雕漆工艺又在剔彩的基础上推出了“堆色雕漆”。
清代漆器呈现全新的样貌，器型样式琳琅满目，特别是出现大型漆艺家具作品，从径不及寸的香脂粉盒到大型的宝座、屏风、棺椁，几乎遍及生活使用的各个方面。各种花果式的器型频繁出现，桃实、枫叶、葫芦、卷轴、书函、古琴式推陈出新。这些宝贵的漆文化遗产无不浸透着历朝历代匠人匠心造物的精华，涵盖了漆艺大匠们对人格修养、文化传承的追求。
炎黄子孙坚韧、包容、智慧的生存方式和匠人匠心极致精美的造物神髓、优秀的技艺代代传承，匠人们毕生对品格至高境界的追求深远地影响着漆器艺术的辉煌成就，时断时续的中国漆艺造物的古老文化，触动着世界漆文化历史的进程与发展，值得今天中国的漆艺匠人、漆艺术家、珍爱漆文化的后人们自豪和骄傲。然而先人创造的历代精美漆器大量流失于海外，现存于大英博物馆、德国东亚博物馆等机构，而我们国内至今尚无专业收藏展示漆器的官方博物馆机构，由此可见有着8 000年历史的华夏民族古老漆文化的价值在当今时代并未获得国人足够的认知，我们应尽快重视、发掘、梳理、抢救、回流、保护古老漆文化，尊重对大漆匠人造物精神的呵护和延续，激活非遗传统，复苏漆元素中的DNA 使其重新焕发生命活力，探索漆的本体语言在现代设计语境中如何展现与应用，从艺术审美的角度重新探索当代漆艺与生活环境的平衡与衔接，启发漆艺人性化、人文化的深层智慧，思考传统文化再生，漆艺如何从工艺美术语言升华为当代艺术语言，更富于时代的表现力及感染力。匠师心手合一、匠心造物、人性浸润的珍贵价值将重新定位并受到本应有的尊重，让中华文化生生不息，薪火相传。
（一）福州脱胎漆器略记
中国福州脱胎漆器、扬州漆器、平遥推光漆器、成都漆器是我国四大漆器。其中福州脱胎漆器的制作工艺最为独特，深受世人青睐。
福州是我国漆艺重镇，自南宋以来开始有了漆器作坊，作为对外贸易的港口城市福州，在清代是漆器集散地和漆艺人才高地。乾隆年间福州府侯官县漆艺匠人沈绍安（1767—1835）在修补寺庙破旧牌匾时发现木头虽然腐朽，但漆灰夏布裱褙的底胚完好无损，通过对旧匾的分析，了解基本材料成分，失传已久的隋唐时期的佛像制作技艺“夹纻”被发现，此工艺源于战国，兴于西汉，魏晋时期走向成熟。
隋唐时期寺庙大佛多用此法制作，是佛造像的重要方式，一直延续了近千年，由于晚唐时期两度灭佛后，绝大多数漆造佛像被毁坏殆尽，夹纻技术逐渐衰败直至失传。而世界现存的唐宋时期的夹纻造像“唐代八部神像”被日本正仓院收藏。
聪慧有心的匠人沈绍安本是油漆匠，以制售漆筷、漆碗、神主木牌为业艰难度日，他潜心研究，将这门古老技艺经过改造，反复实验创新，尝试采用极细的麻布和丝绸裱胎成型，其胎壁薄如纸，厚不及毫米，坚固质轻。他的慧眼匠心不但发掘了失传已久的古老夹纻漆工艺，更大胆地创新实践，他的巧手睿智使得工艺独特的沈氏脱胎漆器成功面世，振兴了福州漆器，引领行业进步发展，使福州府一跃而成为享誉世界的漆器名镇，开了脱胎漆器的先河，对当时福州漆器大量出口海外创汇产生了极大的推动。沈氏家族第五代沈正镐、沈正恂试制彩色的髹饰薄料成功，真金真银碾泥调漆为色，在原有的“红、黑、朱、紫”的基础上研制出“金、银、天蓝、苹果、葱绿、古铜”等色，光亮持久、不怕水浸、不变形、不退色、质地坚固、耐酸碱、重量极轻。沈氏脱胎漆器髹饰技术的进步使古老漆器更加华丽辉煌、灿烂夺目。而这一切都离不开沈氏一门历代漆艺大匠们苦心钻研、执着不懈的艰辛付出，其匠心、慧心的高贵精神境界，值得后代敬仰修习。
1889年福州沈氏脱胎漆器参加巴黎举办的世博会，一举获得金奖。
后来沈氏脱胎漆器又先后在美国、德国、英国、意大利、日本、菲律宾、比利时、巴拿马等地举办的国际博览会多次获得金奖、头等金牌奖和最优秀奖等，获得“珍贵黑宝石”、“东方珍品”等美誉。
光绪三十一年，清廷授予沈绍安第五代孙沈正镐、沈正恂“四等商勋，五品顶戴”，宣统二年又晋升“一等商勋，四品顶戴”。时至清末民初，沈家老铺的一件漆器依旧价格不菲。而这种漆与金属粉末调合使用的薄料技术在巴黎世博会展出后被西方广泛应用于近代涂装工业，尤其是家居饰品和汽车涂装。新中国成立后的第一台东风牌轿车就是采用福建大漆工艺来装点装饰的。沈绍安家族对创造中国近代福州脱胎漆艺行业的鼎盛辉煌功不可没。福州脱胎漆器与北京景泰蓝、江西景德镇瓷器并称为中国传统工艺“三宝”，2006年5月20日正式被国家列为首批珍贵非物质文化遗产。
1949年新中国成立后百业待兴，有着国际美誉的福州沈氏脱胎漆器，远销世界70多个国家和地区，更成为新中国馈赠外宾的国礼。1952年沈氏兰记正式改为“公私合营福州脱胎漆器公司”，在原来沈绍安兰记、德记的基础上又成立了福州第一脱胎漆器厂和第二脱胎漆器厂，创办了福州工艺美术研究所、福州工艺美术学校，推动了福州脱胎漆器行业整体产业链的发展与繁荣，福州脱胎漆器的生产规模大大超过新中国成立前，艺术风格更加多样化，沈氏脱胎漆器世家传承至此落下帷幕。近代以来各自为战的分散零星小作坊式经营的福州脱胎漆器制造业开始了国有化大规模发展的崭新历史进程。
1954年，福建省文化局为了进一步保护和发展脱胎漆器髹饰的传统工艺，将行业中的创作名手李芝卿、高秀泉等十人组成漆器研究小组，专事创作、设计、研究，从事研发新工艺、新材料、新技法的工作。
( 二) 漆艺大家风范
沈福文（1906—2000）福建诏安人，1928年考入杭州国立艺专，受左翼文艺思潮的影响，创作反帝反封建反压迫的木刻版画作品，曾受到鲁迅先生的赞扬，是老一辈革命艺术先驱。1935年东渡日本，经蔡元培先生介绍，入日本著名漆艺大师松田权六工作室研习漆艺。
在求学期间寻到中国失传已久的《髹饰录》并将手抄本带回国，对照博物馆展品等漆器实物进行研究，发掘了几十种已经失传的古代漆艺技法并进行了归纳和整理。1937年学成归国任国立艺专教授。
1939年同李有行先生及诸位同仁创办四川省立高级工艺职业学校。
他发挥自己的绘画特长，结合漆艺技术，进行了早期非常重要的实验性尝试，在上世纪三四十年代多次举办漆艺作品展，使漆艺术在中国美术界占有了一席之地。1947年在成都等地举办“沈福文教授敦煌图案漆艺全国大展”，受到徐悲鸿等大师的高度评价。1953年四川美术学院成立，沈先生任实用美术系主任。1979年后出任四川美术学院院长。1981年任名誉院长。1984年在第六届全国美展上，他的漆画作品《堆漆金鱼》获得“优秀作品奖”，这是漆画首次与国画、油画、版画、雕塑并立为独立画种参加国家级展览。他倾尽毕生心血构建中国漆艺表现技法的体系。沈福文先生治学严谨，推动了我国高等艺术院校漆器艺术的教学，撰写《中国髹漆工艺美术简史》、《漆器工艺技法摘要》、《中国漆艺美术史》等著作。他在漆艺创作、教育、研究及推广传承等多方面做出巨大贡献，创建了中国高校第一个漆器美术设计专业。他主张理论与实践、教学与生产相结合，培养既有设计思想，又具动手能力的学生，组织成立了西南漆器实验工厂作为学生实习、创作的重要基地。他努力把多种艺术形式融入漆艺教学和创作中去，使得漆艺这门业已凋零的艺术得以重新焕发生机，培养了一大批现代漆艺的后继者。沈福文先生是中国漆艺术的传薪人与现代漆画艺术发展的奠基者、教育家，他具有无私无畏的高尚人格，倾尽毕生为中国漆艺术未来的厚积薄发奠定了深厚的根基，堪称当之无愧的漆艺大家。
（三）大匠匠心铭千古
老一辈漆艺大师都是身怀绝技的老艺人，他们深受中国传统文化的影响，漆艺技术精湛娴熟。近代福州著名漆艺大师李芝卿先生（1894—1976）15岁进入福建工艺传习所漆工科学习，师从日本漆艺大师原田及清廷御工林鸿增学习漆器技艺。1924年在原田先生的邀请和资助下东渡日本，进入长崎美术工艺学校漆艺科深造，系统学习掌握了日本漆艺的“变涂”和“莳绘”等髹饰技法，学成后归国，开始从业于沈氏兰记。新中国成立后，1954年进入福州工艺美术研究所工作，一生致力于漆艺技术的革新和漆艺语言丰富蜕变的大胆尝试，在传统福州脱胎髹绘技法的基础上结合日本“变涂”、“莳绘”的手法，经过反复实验，通过“磨显”形成一套独特且更具表现力和感染力的漆彩语言。在工美所研究开发的艰苦岁月里，李芝卿先生试制成功上百块珍贵的大漆技法样板，凭其主观匠心意志力排除万难，靠非凡的艺术天赋唤醒自然魔力，巧妙运用精湛的技艺捕捉自然美的质朴，达至更深邃、抽象、粹练的高度。他潜心感悟中国人情感的细腻典雅，将漆艺语言不断推向精美极致，艺术大家的匠心伴随着漆艺技法的精进炉火纯青。他虔心问道发掘新技法的执着挚诚，叩问艺术本质的痴迷狂热，促成中国现当代漆艺语言丰富多样化。
在他的磨显磨练下诞生了彩漆漂变、犀皮起皱、鲜苔丝、松皮纹等新奇变法，他曾将闪光沉花技法应用于国产红旗轿车内饰。20世纪50年代他更无私地将这些毕生创造的技法公布于世造福后代匠人。
他的赤宝砂、仿古铜、古玉、砖、瓦、陶瓷无不乱真，漆纹神秘高妙、变幻无穷。1957年他为南京博物馆复制司母戊大方鼎，逼真地表现出铜鼎因年代久远形成表面的铁锈铜斑而名声大噪。国之大匠的精神气度和匠心独运的审美高度初现端倪。
他对生活周边事物细心观察，用心感受大自然的晨云雾色、黄昏霞逝、流水波纹、潮花激浪还有屋漏水痕的自然变幻，通过将这些天然迹象的启发转化升华为漆彩语言的艺术表达，李老感慨自然之大美时叹道：“自然为本，皆可为师，皆可入画。”随心所欲的艺术创造源自他对漆性得心应手的掌握和对技法娴熟自如的运用，自然神奇的造化点燃他漆艺创作的激情，他的传奇变法被后人归纳为罩漆研磨、描漆彩绘、仿古堆塑、嵌银漆彩、漂漆流彩。当之无愧为一代大师楷模，匠心独运，天人合一。
我认为李芝卿先生的“罩漆研磨”关键在于“磨显”，对于强弱厚薄不同程度的瞬间把控，差之毫厘失之千里，肌理效果互相渗透或隐或显，空间层次微妙剔透、自然天成，在继承传统福州脱胎漆器髹绘的基础上结合日本的“变涂”，从根本上突破传统髹漆彩绘表现技法单一的按部就班的老套路，预埋漆层复杂底色，布局叠加匠心高妙了然于胸，运用“磨显”逐层探寻漆纹窑变般的偶然性和不可预知性的惊喜，其效果人意天趣参半，妙品天成。“罩漆”和“磨显”至此已经不是普通漆艺匠人能够掌握的一道简单的手艺工序，“磨显”效果是脱胎漆器髹饰技法质的飞越，是工艺描绘量变到艺术表现质变的突破，由传统细节具象的程序化描绘模仿自然到细节抽象与自然天人合一的神遇迹化，彰显了中国特色儒释道文化的有无交替、虚实相克相生、似是而非的含蓄隐晦、儒雅躲藏的审美太极。
在他巧夺天工的磨显之间定夺漆彩变幻，东方神秘与瑰丽超越平凡开启神域，大匠心髓的睿智、性灵、魅惑凝聚勾兑于作品酿造的醇厚芳香，穿越时空带来遐想宇宙的无尽浩瀚，李芝卿先生无疑是福州漆艺界值得敬重的一位艺术大匠。吴冠中先生讲：“艺术无非两条路径，小径怡情怡性自娱自乐，大路震撼人心鼓舞苍生。”艺术贵在抒发心中之情感，纵意写真，情落起承诗文画境转合须臾间，似有意似无意气性唯一而升华之，韵者遥相呼应，所谓空谷传音切，隔时而后现真，是故气韵者循其气而后现性，能知生气而用韵至达，韵足可造势摇曳生姿，顿感气生韵动曰“气韵生动”，李芝卿先生悟到了。他还整理了《福州漆器制作工艺》并促成建立福州工艺美术学校培养接班人，60多年的创作生涯里他创作了很多精美的漆艺作品，被中外国家博物馆收藏。李芝卿先生的理论和实践催生了现代漆艺术表现形式的诞生和不断完善，对中国漆艺术做出了极其特殊的重要贡献，永载史册，惠泽后人。
（四）交流碰撞启发漆语觉醒
新中国成立初期传统手工漆器行业开始复苏，很多技术革新由国有工厂支持推动，工业机械技术和髹饰方法的创新与发展细化了漆器制作工序，分工协作后产量质量均得到提高，初步改善了福州漆器行业过去完全依赖手工操作的落后传统业态。由于国家对福州漆器的重视和大力扶持，福州漆器行业的发展在20世纪五六十年代盛极一时。此后，一方面由于一些脱胎漆器厂被解散，一方面由于产品设计单调、创新不足、技术落后，福州脱胎漆器产业的发展进入低谷。
具有远见卓识的福州市政府为重振福州脱胎漆器业的辉煌，拓宽福州漆艺人的国际视野，恢复福州脱胎漆器在国际的声誉，以继承传统为基础向国外优秀漆器工艺技术与时尚设计理念虚心学习取经，助推福州脱胎漆器陈旧设计的蜕变。
中日恢复邦交正常化20周年之际，福建省二轻厅、福建省文联主办，福建省美术家协会、福建省工艺美术学会、福建省美术出版社承办的国内漆艺界首次具有重要意义的大型国际漆艺交流“92福建漆文化日”活动在福州市拉开了帷幕。活动期间召开了21世纪漆文化之展望国际学术研讨会、《中国漆器全集》出版工作研讨会、福建漆产品展销会。中日现代漆艺展在福建省画院隆重开幕，中方派出代表国内最高水准的福建、四川、北京等地的漆艺家及他们的作品，日本“世界漆文化会议”议长大西长利先生率领日本世界漆文化会议第七次漆源流调查团成员参加本次活动，他们带来了代表日本、韩国、西班牙、中国台湾等地的漆艺家及他们最高水准的漆艺作品。
从沈福文先生和李芝卿先生东渡日本学习深造回国授业解惑传习漆艺的方式到“92福建漆文化日”活动首次邀请大批海内外优秀漆艺家面对面零距离接触，艺术家们切磋技艺进行深度学术探讨意义重大。“92福建漆文化日”活动，从物质、精神、技术多层面呼唤国内漆艺理念的觉醒，器物形质、内涵维度的重新建构明确了今后研究和努力的方向，研究不同材料特性、不同表现形式所隐喻的不同主观意念，研究材料在物理、生理、心理自然结合后产生人文、传统、现代的不同感悟。
启发漆器的表现力，漆艺独特语言的形成，叩问漆艺术魅力的本质。
国内的漆艺匠人开始醒悟制作漆器不单纯是手工艺平、光、亮的技术表现，更需赋予作品思维审美的深刻内涵。独具匠心是可以做到技术、精神、文化兼而有之的，开辟更多的可能性，创造情感各异、形态不同的漆艺术形式，打破束缚的格局给漆艺术鲜活的生路，重要的不是唯继承而是创造着继承。眼界拓宽、新思维启发造物者激情。
疏通国际交往渠道，对接中外艺术家友好交往源远流长。
当年中央美术学院的年轻艺术评论家范迪安先生为“92福建漆文化日”撰写了评论文章。现摘录如下：
“这次，代表两国当代漆艺水平的作品有机会并置在同一空间里，为比较两国漆艺术家的艺术观念和风格的迥异，思考漆艺发展的趋势，提供了宝贵的机会。
日本漆艺非常强烈地展示出了造型上的设计意识和内涵上的东方精神。
相比较而言，中国漆艺术家较多遵从传统语言。但是从漆艺母体中脱胎的中国漆画的发展却是相当迅速的。
漆材料的物质特征中，隐含着对应现代精神的无限可能，由此生发的超越实用意义的内涵，使人归于自然的至真、至美、至善之境。
所谓‘漆之为器，大道寓焉’。
怀想漆艺术那扑朔迷离的身世，无疑会激起更丰富的创造力，在这个意义上，中日两国艺术家有了共同的起点。”
（五）文化自信引领漆艺创造
从20世纪80年代向西方学习先进文化，演变至当代国力强盛后自信的东方文化主体回归，学者们纷纷寻找本民族文化的立足点与着眼点，重新审视我们的造型艺术观念。探寻萌发造物意愿的根本是什么？是文化的自信，思想回归到让我们自信的中国传统文化、世界观、价值观、审美观的根本出发点，有着东方审美自信的漆艺家才能创造出东方美的漆器造物，思想回归的意义在于我们的东方审美意识觉醒！在日常礼仪中体会审美的尺度，以东方人的方法论为造物的思想根基，东方精神与东方造物合而为一。
2006年福州脱胎漆器技艺被列入首批国家非物质文化遗产目录，福州市同时出台保护发展传统工艺美术实施的办法，成立了脱胎漆器行业协会和行业技术创新中心，实行工艺美术大师、名艺人、传人带徒津贴制度。这些努力都是为了寻找福州脱胎漆器产业的复兴之路。新人新作不断涌现，呈现漆艺盛世的景观。当代漆艺家群体以各种方式进行了不懈的漆文化探索，不仅丰富和复兴了传统的漆艺样式，同时也更新了对漆材料物质性、精神性的认知，漆艺正在以自信的现代姿态构成当代艺术文明重要的有机部分，漆艺作品开始以科学严谨的方式展现漆艺技巧，器型、色彩、肌理、质感无不渗透着艺术家精神性的痕迹。
从古至今漆器从来都是高成本的制作，工艺流程繁复，材料天然稀有，手工造物根本区别于机器批量精准制造的冰冷感，完美无缺也就失去了人的体温变化，器物若没有匠人手痕心迹的残缺意味也就失去了独特的唯一特征，要呵护匠心意念的灵动和生命遗憾的气息美。
而如何让漆艺走向高端的价值体现，关键在于观念的创新与设计的创意。不但要用学识和智慧去理解观察自然变化，更要用艺术的直觉去创造漆艺美的精神境界。
（六）迎接漆语时代的到来
中国漆艺的现代化进程与福建有着千丝万缕的渊源，改革开放后的美术新思潮引领古老漆艺步入崭新的漆语时代。即将在福州安泰河畔朱紫坊名所“芙蓉园”古院落群拉开帷幕的2016福州国际漆艺双年展，是对“92福建漆文化日”活动历史篇章的延续。中央美术学院院长范迪安先生担纲本届展览的学术主持人，回顾20多年前的初次交流活动给互相陌生的东西方中外漆艺家们未来的创造埋下了启蒙的火种，年逾古稀的世界漆文化会议议长大西长利先生将再次领军日本当代漆艺术家群体，来到久违的福州与中国漆艺界新老朋友们再续前缘，共襄盛事。国际漆艺术交流展览将再次沉思历史，切磋当代，开拓未来，迎接挑战，点燃福州漆艺振兴的火炬。
东方人情感的表达含蓄细腻，缘物表志，托物言情，旨在达成心物浑融、天人合一的审美理想。漆器沿用茶道、香道、琴道为载体，融会漆元素的礼用性、器用性、艺用性，倡导漆艺重归中国人当代的生活空间——静坐、焚香、对弈、茗茶、文房用具、礼物手信、祭祀仪品。修习东方礼仪与中国传统文化习俗，寓教于美，载德于物，上善若水。以漆物之道教化雅致的东方生活情趣，体悟漆器的神秘韵致、审美诉求、人文情怀。在掌握漆材料基本审美、基础技术、革新实验、积累认知的前提下，追求审美的极致精神内涵，厚积薄发，使得漆艺创造艺无止境。物性与心性转换间突破陈旧观念的壁垒，以虚静之心步入艺术创作的自由王国，不简单炫技，追求工艺的浮影润光，而注重作品美好的感悟、灵魂的震撼，渲染漆艺厚重、静谧、内敛、古朴，道尽漆艺的前世灵今生魂，迎接漆艺话语时代的洗礼。
匠心禅意蕴含在器韵、器物中，器度必不凡。当下人们生活品位随生活方式变迁通过器物的型、色、质体现出来，简洁精致诗意的东方气息紧跟少即是多的设计时尚，极简的漆元素更彰显大漆珍贵的视觉享受，引领当代的审美潮流。漆器承载东方文化含蓄、古朴、优雅的品性，延续东方内敛的思想轨迹。天人合一的哲学观通过细腻品鉴、敬业敏求之道淋漓尽致于漆器的美轮美奂之中。
造物的根本是手之技艺奇巧异端也，技之逻辑亦灵怪也，兼又方术也。
智慧的手技在改造自然中积累丰富认知。艺术的进步伴随着工具的研发和生产流程的不断演进，而传统手工艺选择跨界是当务之急，虚心从不同学科汲取营养，时尚先锋的设计与漆艺完美贴合呈现当代气质，诱发直抵人心的艺术魅力。艺术品位是技之极限，艺字本意是种植云朵、生长翅膀、繁殖梦想，是才能飞翔之内涵。艺术满足人性主观情感的追求，是给人类平淡生活带来欢庆、喜悦、祝福的特殊载体，其重要性在于不断求新，契合不同时代人们内心对美的渴求，浓缩美好人生。东方漆器的审美引领艺术生活化、生活艺术化，提高生活情致的同时进行艺术创造与漆文化商业实践。
技艺精湛近于道，思想对未来漆艺进步要大其心、穷其理，立定东方文化的根基，让漆艺术真切的自然感通赋予欣赏者想象的羽翼直指人心。漆艺造物精神永不停歇地突破技术与审美瓶颈，精进不懈，不断带来美的极致享受。风自动、水自流、草木自生，一切事物非事物自己如此，一切不约而同亘古不变，道之本体自然也。庄子曾为漆园吏作《逍遥游》，老子曾言“人法地，地法天，天法道，道法自然”。自然的美是无我之美，是天地间的大美无言；艺术的美是有我之美，是人类创造之美。依循道的观念确立漆艺学术的未来展望。
（七）国之大匠精神——匠心恒久远
探研传统漆艺审美观念如何在当代美学中升华凝练，达成漆文化的新高度、形式的多元度、灵魂的丰厚度。不同地域文明、艺术样貌、迥异审美、磨合交融使得漆艺未来造物充满无限的可能性，漆艺匠心表现语言多元化的发展是必然趋势。当代漆艺大匠们进行了有益的探索，取得了丰硕的成果，通过本届交流展，国内外著名漆艺名家、学者们切磋、研讨，论证如何有效地发扬传统匠人匠心精髓，繁荣当代漆艺创作，思维能迸发出怎样的火花值得期待，最终获取纯粹艺术的至美感悟。打开国际视野，进军主流艺术圈，获得真正的艺术地位。以本届双年展为契机搭建国际国内漆艺界共赢的舞台，政府、艺术界、学术界共同努力，让世界看到中国福建漆文化的软实力，打造集资源、科技、人才、市场、展示、生产、交易为一体的福州漆艺术中心和漆文化产业中心，营建后续人才培养、技艺传承、创新研发、市场推广、人才支撑的鲜活漆文化生态，同步世界漆艺术潮流，实践漆艺匠人匠心的梦想！保护发掘大漆艺术独特的东方文化蕴藏，传承、发扬大匠精神，演绎东方漆文化的盛世景观！
Great Artisans and Era of Lacquer
Ruan Jiewang (Abbreviated version)
Human beings are diligently exploring the magnificent and extensive naturefor their lifetime. Since ancient times, artisans of lacquer art have alwaysworked hands to infiltrate their pious creation essence into the fantasticbeauty of lacquer. Simple objects reflect their poetic mood, and theircreation connects with the shared feeling of nature. Meanwhile, their skillsare perfectly practiced to show the illusory charm of lacquer. Therefore,personalities and traits of great artisans lay the foundations of the soul oftheir creation realm, as the saying which describes the ingenuity of creationin The Book of Songs goes: "As knife and file make smooth the bone, so jadeis wrought by chisel and stone."Thus it can be seen that perfection hasalways been the ultimate belief of Chinese artisans and ingenuity to pursuethe creation from ancient times to the present.
The word "Qi (lacquer)", created by Chinese ancestors, consists of Ren(people), Mu (wood) and Shui (water). China is the first nation to discoverand use lacquer-painted ornaments and wares in human history. In ancienttimes, Emperor Shun made food containers with lacquer, and EmperorYu made sacrificial utensils with lacquer. Moreover, lacquer was used topaint palace, to make melodious lyre as well as showing the nobleness ofemperors. It is thus clear that lacquer has been significantly used fromancient times.
Chinese lacquer culture first appeared in the Neolithic Age. From Xia, Shangand Zhou dynasties to the Warring States Period, lacquer art was growingmore mature and bearing the charm of Chu culture. With a wide rangeof uses, it was used not only in daily life but also in sacrifice rites. Usuallypainted with red and black lacquer, carved lacquer art had been appearedin Shang Dynasty. The Han Dynasty is the golden age of lacquer art withvarious kinds of lacquer wares, including diet household utensils, makeupappliances, furniture, etc. At that time, lacquered sacrificial vesselsappeared to replace bronze wares. Red or ocherous patterns were paintedon black lacquer to show the ancient lacquer language which is full ofmagic changes and flowing souls. In the ancient lacquer languages, godsand human beings coexisted harmoniously, which presented a mysteriousand splendid world of China's long history of culture and art. In the Wei, Jinand the Northern and Southern Dynasties, lacquer wares were combinedwith paintings to break the limitation of flat painting, thus appearing newskills of iridescence which is more live and stereoscopic. Till the Sui, Tang andthe Five Dynasties, the creation of artisans of lacquer wares were improvedand more perfect, which promoted the development of handicrafts, thusproducing exquisite handicrafts, such as dry-lacquered Buddha statues,lacquer-painted mosaics with gold and silver and carved lacquer wares.
During the two Song Dynasties, lacquer wares were popularized. Specialagencies were set up by government to manage and make lacquer waresfor imperial use, and lacquer wares for civil use were also put into market.
The extremely exquisite and natural carved lacquer is the achievement oflacquer wares in Yuan Dynasty. Due to the great attention and love of thecourt, the development of lacquer wares reached a peak in Ming Dynasty.
Under the supervision of imperial household, lacquer wares made in imperialworkshops were becoming more and more gorgeous and exquisite. Duringthe Wanli Period (1573—1620), "heap color carved lacquer" was promoted onthe basis of removing colors when carving lacquer wares.
Lacquer wares presented a new appearance with a wide range of shapesand sizes, especially the emerging of large-sized lacquer furniture. Fromsmall-sized boxes which were used to contain cosmetics to large-sizedthrones, lacquer wares were almost used in all aspects of life. Imbued withcreation essence of artisans of all the dynasties, these precious heritages oflacquer art cover the elaborate management of great artisans in terms ofpersonality cultivation and cultural inheritance.
We should respect and extend the spirit of creation, and revive the DNA oflacquer element. Besides, we should also explore the ontology language oflacquer to transfer the contemporary art language. Artisans should workhand in hand to relocate the precious value of human nature, and make itreceive deserved respects and pass on from generation to generation.
I. The brief history of bodiless lacquer wares in FuzhouLacquer wares in Fuzhou initiated in the Southern Song Dynasty. Duringthe reign of Emperor Qianlong, Shen Shao'an, a lacquer artisan of Fuzhou,discovered the long-lost skill of "dry lacquer" in Sui and Tang Dynasties whenhe was repairing the worn-out plaque of a temple. As an intelligent artisanwith a sincere heart, Shen Shao'an devoted himself to studying and adoptingfine linen and silk to build mold which is thin but with strong quality. The uniquebodiless lacquer wares were successfully developed with his hands and wisdom.
Moreover, the skill of lacquer-painted thin materials with colors, developed bythe descendants of the Shen family, made the ancient lacquer wares moregorgeous and bright, which not only revitalized lacquer wares in Fuzhou butalso promoted the development of the industry. Deeply favored by people allaround the world, the unique bodiless lacquer wares of the Shen family wonnumerous awards in international expositions, which made Fuzhou a famouscenter of lacquer wares. The family of Shen Shao'an played an indispensablerole in the glorious development of bodiless lacquer wares of Fuzhou in modernChina, which was the result of painstaking studies and persistent efforts ofgreat artisans from the Shen family. Therefore, the noble spiritual realm of theiringenuity and wisdom deserves our respects.
After the founding of new China, China needed to develop its economy topromote all the other industries. Therefore, Lanji, ran by the Shen family,was renamed as "Joint State-Private Company of Fuzhou Bodiless LacquerWares". They also established the First and the Second Factory of BodilessLacquer Wares, and founded Fuzhou Research Institute of Arts and Craftsand Fuzhou Arts and Design School. All these behaviors had promoted thedevelopment of bodiless lacquer wares industry as a whole industrial chainin Fuzhou. Thus, the family inheritance of bodiless lacquer wares ended, andthe industry of bodiless lacquer wares in Fuzhou began its development ofnationalization.
In 1954, in order to further protect and develop the traditional lacquerpaintedskills of bodiless lacquer wares, a research group of lacquer wareswas established by the Cultural Bureau of Fujian Province. The groupconsisted of ten famous artisans in the industry, such as Li Zhiqing andGao Xiuquan, who were specialized in the creation, design, research anddevelopment of new crafts, new materials and new skills.
II. Great artisan of lacquer art
Shen Fuwen is a revolutionary pioneer of art in the older genaetrion. In 1935,he learned under the tutelage of Matsuda Quanroku，a famous master oflacquer art, to study lacquer art in Japan. During his study, he found China'slong-lost manuscript of lacquer-painted skills. With the manuscript, hestudied and explored dozens of long-lost skills of ancient lacuqer art. In 1953,Sichuan Fine Arts Institute was established, and Mr. Shen was appointed asDean of Applied Arts Department, and President of Sichuan Academy of FineArts. In 1984, his lacquer painting Heap-lacquered Goldfish won an awardin the sixth national exhibition of fine arts. It is the first time that lacquerpainting was regarded as an independent kind of painting to participatein the national exhibition with Chinese painting, oil painting, printmakingand sculpture. Shen Fuwen dedicated himself to constructing the skillsystem of Chinese lacquer art, which promotes the teaching of lacquerart in China's art academies. In addition, he wrote books to advance histheory which advocates the combination of theory and practice, teachingand production. He made efforts to cultivate students with both designideas and practical abilities, which resulting in a large number of successorsof modern lacquer art. Mr. Shen Fuwen is not only a spreader of Chineselacquer art, but also a founder and educator of the art development ofmodern lacquer painting. He laid the foundation of profound accumulationand development to Chinese lacquer art, thus he can be regarded as a greatmaster for other artisans to learn from.
III. The ingenuity of great artisans will be remembered throughthe ages
Li Zhiqing, a famous and great artisan of lacquer art, studied lacquer artin Fujian Teaching Institute of Crafts when he was 15, and learned afterJapanese lacquer art artisan Harada and imperial artisan of Qing DynastyLin Hongzeng. In 1924, he went to Japan to systematically study "Chaningpainting", "Maki-e" and other lacquer-painted skills of Japanese lacquerart. In 1954, he worked in Fuzhou Research Institute of Arts and Crafts.
For his lifetime, he devoted himself in bold attempts of lacquer languagetransformation. By repeated experiments, he established a unique skill oflacquer language, and successfully trial-produced hundreds of preciousskill samples of lacquer. By virtue of his ingenuity and talents, Mr. Li Zhiqingcleverly applied his refined techniques to catch the simplicity of naturalbeauty so as to awaken the magic of nature. Combined with abstractand fantasy, his ingenuity became more perfect with the progressed skills.
Besides, he was pious and sincere to study, and sought the nature of artwith enthusiasm. A series of Changing painting skills were born with hispersistent efforts, and he selflessly published skills developed by himself tothe world in the 1950s so as to beneift artisans of later generations. In 1957,Li Zhiqing reproduced the Simuwu cauldron for Nanjing Museum, whichmade him famous because he vividly presented the rust and copper stainsproduced due to age on the cauldron surface. The spirit of a national artisancan be seen from here.
All the changes of nature, including cloud and fog in the morning, sunsetclouds, waves of water, etc., are inspiration for him. Inspired by thosenatural signs, Li Zhiqing transformed them into lacquer language. Originatedfrom his master of skills and the nature of lacquer, he could create worksfollowing his own inclination and desire. His legendary skills were laterconcluded to covering and grinding lacquer, painted and colored drawing,imitated pasting ornament, silvered and colored painting and floating paint.
It is undoubted that Mr. Li Zhiqing is a great artisan and good example withunique ingenuity.
I think the advantage of Mr. Li's "covering and grinding lacquer" is thegrinding technique which can immediately grasp and control the materialof different qualities. Textures are penetrated into each other implicitly orexplicitly so as to construct subtle, clear and natural space levels, whichfundamentally broke through the stereotype of traditional techniques. Befamiliar with the layout, the artisan embedded the ground color of lacquerand gradually explored the unpredictable surprise, thus resulting in a mixedeffect with natural and interesting sense. "Covering lacquer" and "grindingtechnique" have been choices for artists rather than processes of ordinaryartisans. "Grinding technique" is a qualitative leap of lacquer-painted skillsand a qualitative change of artistic expression. It is also a transformationfrom traditional and stylized way of drawing nature to detailed andabstract way of drawing Gods, and an aestheticism between implicityand elegance. The mysterious and magnificent lacquer paintings havetranscended the ordinary and opened the domain of Gods with wisdom,charm and fragrance, opening up a vast space for imagination throughoutall ages. Mr. Li is undoubtedly a great artisan of lacquer art who deservesrespects in the field of lacquer art in Fuzhou. In the past 60 years, he creat edmany exquisite works which were collected by museums at home andabroad. His theories and practices have promoted the birth of expressiveform of modern lacquer art, and improved it continuously. The significantand special contribution made by Mr. Li will be immortalized in the history.
Ⅳ. Exchanges and collisions awaken the lacquer languageIn order to revive the international reputation of Fuzhou bodiless lacquerwares and broaden the art horizon of lacquer art artisans, Fuzhou municipalgovernment, taking the opportunity of 20th anniversary of the resumptionof normalization of diplomatic relations between China and Japan, helda large-scale activity of "92 Fujian Lacquer Culture Day" which is ofsignificant importance for exchanges of international lacquer art. Duringthe period, an international seminar on "the Outlook of Lacquer Culture in21st Century" was held. At the same time, a seminar on the pubilcation ofChinese Lacquer Wares, trade fair of lacquer products and China-Japanexhibition of modern lacquer art were also held. We sent artisans fromFujian, Sichuan, Beijing and other places who represented the high levelof lacquer art in China. And Mr. Nagatoshi Onishi, the speaker of "WorldConference on Lacquer Art", led the member of its 7th investigation groupof lacquer origin to participate this activity, and brought lacquer workswhich represent their highest level. Mr. Shen Fuwen and Mr. Li Zhiqing wentto Japan to study lacquer art, and the activity of "92 Fujian Lacquer CultureDay" firstly invited a large number of excellent artisans of lacquer art toexchange and compete skills as well as conducting profound academicdiscussion. The reconstruction of the shape and quality of wares and thedimension of its connotation defines the direction of research in future,and is used to study implicit thoughts and emotions expressed in differentmaterials and forms. We are aware that ingenuity can be achieved withtechnique, spirit and culture. The way to revitalize lacquer art is not justinheritance but inheritance with our creation.
Mr. Fan Di'an, a young art criticism at that time, wrote a review article for theactivity of "92 Fujian Lacquer Culture Day". Excerpts are as flolows: "At thistime, works, representing the level of modern lacquer art of both countries,are presented in the same space, which provides a precious opportunity tocompare artistic concepts and different styled of lacquer artists of bothcountries and to consider the development tendency of lacquer art. In thissense, the Sino-Japanese artists share a common starting point."Ⅴ. Cultural confidence leads lacquer art creationWe learned from the western advanced culture in the 1980s, and now we havereturned to the eastern culture with confidence because of the strengthenednational power. Taking a new look at our artistic concept of creation, whatis the root of intentions for creation? It is the confidence of culture. Thinkingback to the fundamental starting point of our confident Chinese traditionalculture, value and aesthetics, artisans of lacquer art, with confidence of orientalaesthetics, can create lacquer wares with oriental beauty, and oriental spiritand oriental creation can be integrated together as one.
In 2006, Fuzhou bodiless lacquer wares was listed on the first batch ofnational intangible cultural heritages. At the same time, Fuzhou launchedimplementation methods to protect and develop traditional arts andcrafts, and established Industry Association of Bodiless Lacquer Wares andInnovative Center of Industry Technique. All these efforts were made tolook for a revitalized way for Fuzhou bodiless lacquer wares industry. TheChinese lacquer culture is beginning to awaken, presenting a flourishingsituation of lacquer art. Lacquer works begin to present their skills in ascientific and strict way, and they are full of the spirit of artists fromshapes, colors to texture.
Ⅵ. Welcome the era of lacquer language
The modernization process of Chinese lacquer art is closely related withFujian province. The upcoming Fuzhou International Lacquer Art Biennale,held in ancient court of "Hibiscus Garden" in Zhuzi Fang by the Antai River,is a continuation of the activity of "92 Fujian Lacquer Cultur eDay". As theacademic host, Mr. Fan Di'an, the President of Central Academy of FineArts, will review the first exchange of lacquer art between the East and theWest and its enlightenment for the future creation. Mr. Nagatoshi Onishi, thespeaker of "World Conference on Lacquer Culture"will once again celebratethis great event with his old and new friends in China's lacquer field, reviewthe history and exchange experience so as to light the revitalized torch ofFuzhou bodiless lacquer wares.
The expression of emotions in the East is usually implicit and delicate,aiming to reach an aesthetic ideal where souls and wares are naturallyintegrated. Taking tea ceremony, incense lore and lyre lore as carriers,lacquer wares integrate the ritual function, device function and art functionof lacquer element. Lacquer art is advocated to return to the modern lifeof Chinese, such as sitting quietly-burning incense, playing chess-drinkingtea, writing with brush-writing letters by hand and sacrificial rituals. All theabove activities can be taught in our daily life, and be carried in the lacquerwares. Converting the understanding of the mysterious charm of lacquerwares to a calm mind, we should enter the free realm of art creation with avoid and quiet mind. Lacquer art is tranquil, restrained, noble and splendid,but will return to simplicity at last. The simplicity of lacquer in orientalBuddhist mood is leading the modern aesthetic trend, and the philosophy ofharmony between man and nature is presented vividly in the beautiful andmagnificent lacquer wares through careful appreciation.
The progress of lacquer art is accompanied by the development of toolsand evolution of science and technology. Fashionable design and lacquer artare perfectly combined to present contemporary temperament, which willinduce the artistic charm that has power to reach people's heart. Art is ableto meet the pursuit of human being's subjective emotions. We should mixart into life so as to improve the interests of life and promote art creationand business practice of lacquer culture at the same time.
Ⅶ. The spirit of national artisans and the lasting ingenuityThe beauty of nature is the greatest beauty of heaven and earth whichis beyond words, and the beauty of art is ideal beauty created by humanbeings. To forecast the academic future of lacquer art and exploresublimation of the traditional aesthetics of lacquer art in contemporaryaesthetics in accordance with the above principle, the diversified expressionof lacquer language is inevitable. Famous artisans and scholars at homeand abroad will discuss how to effectively promote traditions and prospercontemporary creation of lacquer art. We are looking forward to theresults of their thinking collisions. Taking the opportunity of the biennialexhibition, a win-win platform will be established for lacquer industry athome and abroad. The common efforts of government, the communityof art and scholars will show the soft power of Fujian lacquer culture ofChina to the world. We will construct a lacquer art center and a lacquercultural industrial center of Fuzhou which integrate resources, technology,talents, market, exhibitions, production and trades, and establish a vividecosystem of lacquer culture with talents training, technical inheritance,innovative research and development, promoted market and support oftalents. Besides, we will also synchronize with the trend of world lacquer artand explore the unique oriental charm of lacquer art as well as inheriting thespirit of great artisans so as to present a flourishing and magnificent age oforiental lacquer culture.