「汪家樣」大漆繪畫表現技法之研究

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题名:	「汪家樣」大漆繪畫表現技法之研究 A Study on Performance Techniques of “Wang Style” Lacquer Painting
作者:	洪玉鍚 (Hung, Yu-Yang)
贡献者:	美術學系
关键词:	汪家樣宏觀中觀微觀 “Wang Style” Lacquer Painting Macro Madhyamaka Philosophy Micro
日期:	2018
上传时间:	2019-06-10 14:02:03 (UTC+8)
摘要:	中國人使用漆器已將近七千年歷史，但中國大陸漆畫真正發展成為一個獨立畫種，是從1962年受到在北京、上海展出「越南磨漆畫展」的刺激，以及日本漆藝影響，再加上當代藝術思潮的衝擊，當時中國藝術家們受到了極大的觸動，紛紛地加入了嘗試漆畫創作的行列，直到1984年「第六屆全國美展」把漆畫正式列入畫種，此後，中國的漆藝家、畫家意識到漆畫的獨立繪畫性價值，於是開始了中國當代漆畫的探索發展歷程。　　大漆繪畫的「汪家樣」，係指汪天亮表現性極強的描、堆、刻、撒、貼、罩和磨等「秘而不宣」的漆畫表現手法，他甚至將麻布、漆灰、竹編、金屬和螺鈿等綜合媒材，自漆彩中提升出來，因而他的大漆繪畫始終與眾不同。　　汪天亮在大漆繪畫、國畫、書法和篆刻等方面都有極高的造詣，但最為人稱道的則是他的抽象大漆繪畫。他會把我們對外部世界的三層面感覺，諸如宏觀、中觀與微觀等，加以撃碎及重組抽象畫面。其抽象畫的結構，是點、線、面、塊、虛實、平面和立體的任意流動與組合，至於色彩則常以黑紅的凝聚與燃燒為底色，再加上其它淡色的融合與靈動，其所創建的漆畫新表現形式，常帶給人一種極為強烈的視覺衝擊。　　Chinese people have used lacquerwares for nearly 7,000 years; however, lacquer paintings in Chinese mainland have actually developed into an independent form ofpainting,which originated in 1962 due tothe display of the “Vietnam Lacquer Painting Exhibition” in Beijing and Shanghai, as well as the influence of Japanese lacquer art and the impact of the trend of contemporary art. Greatly motivated at that time, Chinese artists attempted to create lacquer paintings one after another. Until 1984, lacquer painting was formally classified into the painting group in the 6th National Artworks Exhibition. After that, Chinese lacquer artists and painters realized the independent painting value of lacquer painting, which began the exploration and development course of contemporary Chinese lacquer paintings. 　　The “Wang Style” in lacquer painting refers to tacit and strong performance techniquesshowed by Wang Tianliangusing depicting, decorating, engraving, scattering, gilding, covering and grinding. He even elevated the use of linen, lacquer coating, bamboo weaving, metal and lacquer related items from lacquer paintings. As a result, his lacquer paintingsare always distinctive. 　　Wang Tianliang has great attainments in lacquer painting, traditional Chinese painting, calligraphy and seal cutting, etc. However, his abstract lacquer painting is best known. He would break with our three-level views about the outside world, such as macro, Madhyamaka and micro, and reorganize abstract images.The structures of his abstract paintings are arbitrary flows and combinations of point, line, plane, block,ideology and practice, as well as plane and solid.In terms of colors, the mixture of redness and blackness with the color of burning as the background color, combining other light colors, creates ingenuity and brilliance. The new expression of lacquer painting established by him often makes a very strong visual impact.
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