“漆画”概念的历史沿革及学术定位——兼论其与“漆绘”“磨漆画”及“现代漆画”之联系

Historical Evolution,Academic Orientation of the Concept of “Lacquer Painting” and its Relationship with “Lacquer Drawing”,“Grinding Lacquer Painting” and “Modern Lacquer Painting”

“漆画”作为一个概念关键词,持续出现在中国传统髹漆造物、民间工艺美术与现代艺术的语境中。其所涉及的研究对象、应用范围以及功能变化,还在随着社会、时代的变迁而不断演进,学术界对其的定义仍未形成绝对的共识。因此,对于漆画概念变化的把握,有必要将其置入历史沿革的语境中进行梳理:即清中期以前,探寻“漆画”在中国传统漆器髹饰中发展的历史轨迹;晚清民国至二十世纪六十年代,研究“漆画”概念的正式提出、演变的历史背景以及兼容性的发展;六十至七十年代,“磨漆画”概念的提出及使用;八十年代后,探索“现代漆画”概念的应用。从中分析各个时期“漆画”概念的不同联系与侧重点,作为深化理论研究的基础。

As a key concept,“lacquer painting” continues to appear in the context of Chinese traditional lacquered objects,folk arts and crafts and modern art. Its research object, application scope and functional changes are still evolving with the changes of society and times, and the academic community has not yet formed an absolute consensus on its definition. Therefore, grasping the change of the concept of lacquer painting requires the connection with the context of historical evolution: that is, before the mid-Qing Dynasty, to explore the historical track of the development of “lacquer painting” in Chinese traditional lacqueredobjects;from the late Qing Dynasty to the Republic of China to the 1960s, to do research on the formal proposal of the concept of “lacquer painting”, the historical background of its evolution and the development of compatibility;between the 1960s and1970s, to explore the proposal of the concept of “grinding lacquer painting”;and after the 1980s, to explore the application of the concept of “modern lacquer painting”. The different relations and emphases of the concept of “lacquer painting” in each period are analyzed as the basis for deepening theoretical research.