川调漆语：川美漆艺欣赏

                   Sichuan: paint lacquer art appreciation Sichuan

　　遵义会议（漆画） 集体创作

　　虾（漆画） 沈福文

　　无尽（漆画） 杨富明

　　六个方块（漆画） 何艳

　　挑花纹小盘·凤追凤（漆器） 李大树

　　四月的漫步（漆画） 陈恩深

　　泸沽湖之晨（漆画） 何豪亮

　　【艺境观象】

　　漆艺在中国源远流长。中国漆器工艺早在新石器时代就已出现，从春秋战国、秦汉的多彩漆绘，到唐宋的金银平脱技艺；从明清的雕缋满眼工艺，直至晚清走向低迷，中国漆艺的传承和发展走过了波澜起伏的漫长历程。

　　20世纪30年代，庞薰琹、雷圭元、沈福文等中国文化的坚守者，为复兴传统文化，积极投身于中国传统技艺的革故鼎新。其中，沈福文以其对传统漆艺历史的梳理和研究、对漆艺技法和媒材的挖掘，为中国漆艺的发展壮大作出了突出的贡献，也为中国漆画的学科建设奠定了理论和实践的基础。在他的推动下，四川省立艺术专科学校（四川美术学院前身）于1941年开设漆工科，川美的漆艺人才培养系统就此开启。

　　近日，在中国美术馆举办的“本体与重构——四川美术学院漆艺术展”，共展出四川美术学院漆艺学科历任专业教师的代表性作品及部分学生近作60余件。其中既有学科开创者沈福文的标志性作品《虾》《金鱼》，也有《四月的漫步》《花与桃》《山涧云梦》等学院历届教师的全国美展获奖漆画作品；既有《井冈山》《遵义会议》等学院老一辈艺术家描绘革命圣地、历史事件的力作，也不乏立足当代视角的《六个方块》《混沌·生之形态》等年轻漆艺教师及学生的佳作。文献专著与漆艺作品的集结呈现，展示了四川美术学院漆艺发展近80年的不凡之路。

　　川美的漆艺创作在20世纪40年代以漆器为主，50至70年代，漆画与漆器并行，80年代以后漆画艺术全面兴起。在学科建立之初，沈福文主张以传统漆工艺作为审美旨趣，借用其他画种图式的表现手法，实现从器到画的漆艺革新。后在杨富明等学院老一辈教师的推动下，逐渐生发了“画在漆先”的艺术理念和漆艺语言的创新。“画在漆先”强调漆作为一种媒介，应“服务”于画境。画境优先的理念决定了四川美术学院现代漆画的语言形态和图式特征，也促推了学院现代漆画基本面貌的形成。1990年，在川美浓郁的当代艺术创作氛围中，陈恩深在“画在漆先”的学理基础之上，将川美漆艺推进到强调绘画性的当代漆画之境，也催化了现代漆画的教学与创作探索。在发掘了线性图式于当代漆画的重要性之后，学院教学明确了“质不碍图，图不碍质，图质相生，大助画境”的创作观念。坚实的理论基础和孜孜不倦的创作实践使四川美术学院当代漆画呈现出严肃的学术面貌和鲜明的个性品格。众多学子的漆画作品充分体现了川美漆画灵动不羁、随势而形的艺术面貌。

　　随着民族文化自信的觉醒，富含东方文化韵味的漆艺在当下的传承，激发了艺术家在创作上的活力和热情，而对漆艺在当代性上的拓展则是新生代漆艺家们无法回避的课题。2007年，学院漆器艺术工作室的恢复让川美漆器创作呈现出鲜明的当代性。以研发传统漆艺为目标，通过实验延伸、改变传统创作观念，川美漆器创作进入了实验漆艺、跨界漆艺的新阶段。实验漆艺的目的是将漆艺向新工艺或现代艺术形式延伸，探索表达方式的广度和深度。跨界漆艺则是通过广泛地与其他技术相融合，通过材料混合、注入当代文化元素等方式使漆器具有新的面貌和象征。近年来，学院师生创作的漆器作品呈现出越发丰富的艺术形态和鲜活的创新力，许多作品实现了发散化、诗意化甚至哲思化的跨界融合，漆艺创作由保守转向开放，进入了全新的发展局面。

　　“蜀道难，难于上青天，但在我看来，深处西南的地理位置对于川美的学术养成仍是利大于弊：一则自在、二能深养、三以远望，正是‘在、养、望’三者，成就了川美漆艺的今日气象。”四川美术学院院长庞茂琨说。纵览川美漆艺术，不论是漆画还是漆器，都正走在不断精进的发展道路之上。漆艺的创作过程是艰苦的，它承载了人们对生命的理解和对美好生活的向往，也记录了中华民族各个时期的美学意识和文明指向。对一代代漆艺家作品的回望和梳理，于中国当代漆艺的发展和传统工艺的振兴都具有重要而深远的意义。

来源：光明日报

　　遵义会议（漆画） 集体创作

　　虾（漆画） 沈福文

　　无尽（漆画） 杨富明

　　六个方块（漆画） 何艳

　　挑花纹小盘·凤追凤（漆器） 李大树

　　四月的漫步（漆画） 陈恩深

　　泸沽湖之晨（漆画） 何豪亮

In the long history of lacquer Chinese. Chinese lacquer craft in the Neolithic age have emerged from the spring and Autumn period, the Qin and Han Dynasties to the Tang and Song Dynasties and colorful lacquer painting, gold and silver flat to take off the skill; from carving process ofthe eyeful of the Ming and Qing Dynasties, until in the late Qing Dynasty to slump, inheritance and development of China art through a long history of ups and downs.

In 1930s, Pang Xunqin, Lei Guiyuan, Shen Fuwen and other Chinese culture to, for the revival of traditional culture, and actively participate in the reform and innovation of traditional skills Chinese. Among them, Shen Fuwen in the history of traditional lacquer art analysis and research, lacquer and media for the development of mining, China lacquer expansion has made outstanding contributions, but also lay a foundation for the theory and practice of discipline construction Chinese lacquer painting. In his promotion, the Sichuan provincial art school (Sichuan Fine Art Institute) in 1941 to open paint engineering, Sichuan lacquer to open the system of talent cultivation.

Recently, held in China Art Museum "noumenon and Reconstruction -- Sichuan Fine Art Institute lacquer art exhibition", featured Sichuan Fine Art Institute lacquer art subjects of the representative works of former professional teachers and students work more than 60 pieces. Which subject founder Shen Fuwen's iconic "shrimp" "goldfish", also "April" walking "and" Yunmeng "Peach Flower Mountain" and other college teachers' previous National Art Award lacquer works; both "Jinggangshan" and "Zunyi conference" of older artists depicting the sacred place of the revolution and history the event is also based on the contemporary masterpiece, from the perspective of "six box" "chaos of form" and other young teachers and students of the lacquer works. The literature monographs and lacquer works assembled show, on display at the Sichuan Fine Art Institute art nearly 80 years of development of his path.

The creation of lacquer lacquer in Sichuan Fine Arts Institute in 1940s, 50 to 70s, lacquer painting and lacquer painting art in parallel, since 80s the overall rise. In the establishment of the discipline at the beginning of, Shen Fuwen advocated the traditional lacquer craft as the aesthetic purport, borrowed from other kinds of Painting Schema expression, from the device to the painting of art innovation. After Yang Fuming and other older teachers in promoting college students gradually, the "innovation in the paint painting first" philosophy of art and art language. "In the first painting paint" emphasizes the paint as a medium, should be "service" in painting. One priority idea determines the form of language and schema features of Sichuan Fine Art Institute modern lacquer painting, also promote the formation of the basic features of modern lacquer painting. In 1990, Sichuan rich contemporary art atmosphere, Chen Enshen in the paint painting in the first "theoretical basis, will advance to emphasize the lacquer painting by contemporary lacquer painting realm, but also catalyze the modern lacquer painting creation and teaching exploration. After the importance of excavation in a linear pattern of contemporary lacquer painting, the "college teaching quality does not hinder the map, map does not hinder the quality, image quality. The two big help" creation concept. The solid theoretical basis and the indefatigable creative practice make the contemporary lacquer painting of Sichuan Fine Art Institute a serious academic face and distinctive personality. Many students in the lacquer painting works fully embodies the clever uninhibited, with the potential of painting Sichuan and artistic appearance.

With the awakening of national cultural self-confidence, rich cultural flavor of Oriental lacquer inheritance in the moment, inspired the artists in the creation of energy and enthusiasm, and the development of contemporary lacquer art in the art is a new generation of scientists cannot avoid the topic. 2007, Institute of lacquer art studio to restore lacquer creation showed Sichuan distinct contemporary. With the development of traditional lacquer art as the goal, through the extension, change the traditional concept of creation, creation of Sichuan lacquer has entered a new stage of experiment, cross-border lacquer lacquer. The purpose is to extend the lacquer lacquer to new technology or modern art form, explore the breadth and depth of expression. The lacquer is through extensive cross-border integration with other technologies, through material mixing, injection of contemporary cultural elements and other ways to make lacquer has new outlook and symbol. In recent years, college teachers and students creative lacquer works of art form and more vivid rich creativity, many works achieve divergence and poetic philosophy even of cross-border integration, the creation of lacquer from conservative to open, has entered a new development situation.

"Shudao difficult, almost inaccessible, but in my opinion, the depths of the southwest location for academic cultivation is still Sichuan outweigh the disadvantages: a free, two to three, with deep support from afar, it is" in the hope, support, 'three, the achievements of the weather today Sichuan lacquer." Pang Maokun, the dean of the Sichuan Fine Art Institute, said. Overview of Sichuan lacquer arts, whether it is painting or lacquer, are all on the road of development expanding. The creative process of art is hard, it has the people's understanding of life and yearning for a better life, but also a record of each period of Chinese aesthetic consciousness and civilization. For generations of lacquer works review and combing, has important and far-reaching significance to the revitalization of Chinese contemporary art development and traditional technology.