漆畫創作技法新論–「四技」與「四法」

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Title:	漆畫創作技法新論–「四技」與「四法」 New Discussion on Lacquer Painting Creation Techniques – "Four Techniques" and "Four Methods "
Authors:	王宸豐
Contributors:	美術學系
Keywords:	大漆漆器漆畫四技四法
Date:	2023
Issue Date:	2023-07-06 12:48:23 (UTC+8)
Abstract:	天然樹漆又稱「大漆」（後文為與近代的化學漆料區隔，概以「大漆」名之）的發明與運用，是中華民族對人類文明的重要貢獻之一，更是中國古代傑出工藝的代表，其技法不僅多元、表現更是多變。由古至今，歷經千百年的技法傳承與發展，大漆藝術日臻完善，技法亦屢創新境。現今有關大漆藝術創作技法的文獻，大都以漆器製作的技法作為研究主軸，鮮少見以漆畫創作為本的技法解析。　　漆畫的創作，有其實質精神的獨特性，所以追求的是材料運用的多元突破與技術層面的觀念解放。在此，筆者試將傳統的大漆工藝技法，從器物胎體的「實用」本質束縛，擺脫、拆解開來。讓漆藝技法傳承千年的綜合運用模式，以一種簡單易懂的分類方式去剖析「技術」與「方法」，以及拓展藝術創作的揮灑空間。試圖為漆藝美學建立更為淺顯易行的創作模式。　　文中第一章敘述的是本論文的研究動機、目的、研究方法及研究範圍和限制。第二章探討的是大漆應用的歷史淵源與演化過程。其中第一節將中國歷代漆藝技法演進與應用以簡表述之。第二節則是對漆藝的釋義與漆畫的定義與定位，分別陳述。第三節細列漆畫的創作技術與方法，並提出分別列舉的見解。第三章介紹四種漆畫的基本「技術」：推磨、髹塗、描繪、剔雕的運用基底。第四章介紹四種漆畫的創作「方法」：貼附、凹填、凸起、飄流的組合精神。第五章是筆者的作品創作理念與技術、方法應用解析。第六章探究的是漆畫創作的前瞻精神與藝術價值。第七章為結論，論述大漆繪畫藝術東西融合、古今貫通的未來發展目標與新穎、新格又新潮的開創性可行目的。 The invention and application of natural tree lacquer, also known as “big lacquer” (hereinafter, it is separated from modern chemical paints, probably named “big lacquer”) is one of the important contributions of the Chinese nation to human civilization. The representative of outstanding ancient Chinese craftsmanship, its techniques are not only diverse, but also changeable in performance. From ancient times to the present, after thousands of years of inheritance and development of techniques, the art of lacquer has been perfected day by day, and the techniques have repeatedly been innovated. Most of the current literature on lacquer art creation techniques focuses on the techniques of lacquer ware making, and there is no analysis of techniques based on the creation of lacquer paintings. 　　The creation of lacquer paintings has the uniqueness of its essence and spirit, so the pursuit of multiple breakthroughs in the use of materials and the liberation of concepts at the technical level. Here, the author tries to get rid of and disassemble the traditional lacquer craftsmanship from the “practical” nature of the utensil carcass. Let the lacquer technique inherit the comprehensive application mode of thousands of years, analyze the “technique” and “method” in an easy-to-understand classification method, and expand the sway of artistic creation. Trying to establish a more simple and easy creation mode for lacquer art aesthetics. 　　The first chapter describes the research motivation, purpose, research method, research scope and limitation of this thesis. The second chapter discusses the historical origin and evolution of the application of lacquer. The first section briefly describes the evolution and application of Chinese lacquer art techniques in past dynasties. The second section is about the interpretation of lacquer art and the definition and positioning of lacquer painting, respectively. The third section details the creation techniques and methods of lacquer painting, and puts forward the views listed separately. The third chapter introduces the four basic “techniques” of lacquer painting: grinding, painting, drawing, and carving the base. The fourth chapter introduces the four “methods” of creating lacquer paintings: the compositional spirit of attachment, concave filling, convexity, and drifting. The fifth chapter is the analysis of the author's creative idea, technology and method application. The sixth chapter explores the forward-looking spirit and artistic value of lacquer painting creation. The seventh chapter is the conclusion, discussing the future development goal of lacquer painting art integrating the East and the West, connecting the past and the present, and the innovative, new and trendy pioneering and feasible goal.
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