去俗复雅——宋代素髹

Elegant of simply-decorated lacquer in the Song dynasty

漆器,从"流染墨其上","墨染其外,而朱画其内",到"漆城荡荡,寇来不能上",及至汉时"一杯棬用百人之力,一屏风就万人之功",再到流光溢彩,华丽非常的盛唐之时。漆器历经了繁荣与辉煌的发展历程,从木胎,皮胎,竹编胎(篮胎),棬素胎,夹纻胎漆器胎骨的推叠,又从用漆髹涂,镶嵌蚌壳、玉石,金银片镶嵌,彩绘,锥划,晕色到金银平脱,螺钿镶嵌,雕漆漆艺技法不断发展。漆器的材料美、工艺美尽显无遗,绮丽华贵非常。而行至宋时,一反常势,虽承继盛唐注重装饰精巧华美,螺钿镶嵌、戗金、雕漆各放其彩,但其以色彩大方、深沉宁静、蕴藉含蓄、朴素高雅;形制上讲究线形、比例的素髹漆器为主。却也最是反映时代特点的了。宋之前虽素髹之器也比比皆是,却不如其清雅脱俗,婉转流畅,韵味十足,宋之后的元、明、清却又复繁饰之势。素髹之清雅在漆器史上如昙花一现般,悄然而来。

Lacquer ware occupies an important position in the development of Chinese traditional arts and crafts. Lacquer ware has undergone a prosperous and glorious course of development. From the Qin,Han,to Tang dynasties,lacquer ware are mostly painted exquisite carving with extremely elaborate and beautiful decoration. By the time of the Song Dynasty,most of them are simple and unsophisticated in shape,with generous color,deep and quiet,implicitly subtle,simple and elegant. Before the Song Dynasty,although the decorative techniques were abound,but the objects were not as elegant,gentle and smooth,full of charm as those of Song which also reflects the characteristics of the times. After the Song dynasty complex decorative trend started again. The simply-decorated lacquer in the history of lacquer wares is ephemeral. This essay mainly describes the elegance of the simply-decorated lacquer in the Song Dynasty.