阳江漆艺历史演进考述

A study on the historical evolution of Yangjiang lacquer art

基于传统漆艺传承人、漆器藏家口述与明清至21世纪初漆器、漆画等实物考证与图像学等研究方法,从中挖掘及厘清阳江漆艺历史的发展脉络。文章主要探讨以下两个问题,一是印证了阳江漆艺历史从明清工艺美术向现代漆画艺术发展的转变是从以“手工艺”为生产方式发展至工艺美术、现代漆画艺术的历史变迁过程;同时,阳江漆艺历史不仅是中国手工艺史的微小缩影,也是中国现代漆画历史的重要组成部分。二是分析并佐证阳江现代漆画早在20世纪20~40年代活跃并兴盛的图景,分别作为独立画种和应用于漆器的装饰纹样之上,以此纠正个别研究将阳江现代漆画的内涵及外延定义为20世纪60年代后受越南磨漆艺术展览之影响。文章从漆画、漆器实物及文本资料等实物考据,呈现阳江漆艺发展脉络的真实图景,可为阳江漆艺历史研究敞开更广阔的空间。

The article focuses on the oral accounts of traditional lacquer art inheritors and lacquer collectors, physical evidence of lacquer ware and lacquer paintings from the Ming and Qing dynasties to the beginning of the 21st century, and other research methods, the article explores and clarifies the historical development of lacquer art in Yangjiang. The article focuses on the following two issues: first, it confirms that the history of lacquer art in Yangjiang has changed from Ming and Qing dynasties crafts to modern lacquer art, from “handicraft” as the production method to arts and crafts and modern lacquer art. At the same time, the history of Yangjiang lacquer art is not only a tiny microcosm of the history of Chinese craftsmanship, but also an important part of the history of modern Chinese lacquer painting. Secondly, it analyzes and supports the picture of modern lacquer painting in Yangjiang that was active and flourishing as early as the 1920s to 1940s, as a separate type of painting and applied to the decorative patterns of lacquer ware, respectively, so as to correct individual studies that define the connotation and extension of modern lacquer painting in Yangjiang as influenced by the exhibition of Vietnamese lacquer grinding art after 1960s. The article presents a realistic picture of the development of lacquer art in Yangjiang from physical evidence such as lacquer paintings, lacquerware objects and textual materials, which can open up a broader space for the study of the history of lacquer art in Yangjiang.