当代漆画材料语言实验

              The experiment of contemporary lacquer painting materials

黎雪翚 硕果·炫 漆首饰

原标题：当代漆画材料语言实验

　　在过去的一段时间内，漆画受千年来传统漆工艺影响，“平、光、亮”被作为评判漆画的标准，而新时期漆艺术所能承载的文化容量早已超出了传统漆艺的范畴，需要更加丰富的载体和表现形式来体现漆艺家精神层面上的思考成果。因此，漆画材料的使用绝不再孤立，对新型材料的探索和运用势在必行，它使得当代漆艺家能够更加自由地展示自己的艺术观念，也重新审视隐藏在漆画中的大漆精神的外化。

　　作为一门以漆为主要媒介材料的艺术形式，中国漆艺术一开始就是以大漆为中心，探寻一切材料可能性的实验。

　　古代漆艺依附器而生，是在材料的实践上经历了以天然漆为主体，使用到如竹、皮、麻、纸、藤、金属等材料，以及不断融汇脱胎、夹纻等技法尝试各种造型髹饰材料的过程。正是在千百年来不断的实验中，漆艺术逐渐从实用走向审美、从依附于器而生到漆画艺术成为独立画种，漆艺术完成从工艺形态到架上形态直至当代意义上的实验形态的转变。当下，中国漆艺术已站在一个新的历史当口，在新思想、新文化的冲击下，如何在多元文化格局中更新中国漆艺的内涵及外延，成为当代中国漆艺所面临的新的问题。

　　在过去的一段时间内，漆画受千年来传统漆工艺影响，“平、光、亮”被作为评判漆画的标准，而新时期漆艺术所能承载的文化容量早已超出了传统漆艺的范畴，需要更加丰富的载体和表现形式来体现漆艺家精神层面上的思考成果。因此，漆画材料的使用绝不再孤立，对新型材料的探索和运用势在必行，它使得当代漆艺家能够更加自由地展示自己的艺术观念，也重新审视隐藏在漆画中的大漆精神的外化。

　　在现代艺术运动中，很多漆艺术家早已开始大漆材料的“综合”性试验，他们借助各种有可能入漆的材料进行创作，逐渐与标准和粉饰拉开距离。他们在漆艺术创作中敞开心扉，挖掘自我的深层意识，坦诚地表达与陈诉思考成果和观念，对新型材料与传统材料的综合运用进行挖掘与概括。如漆艺家唐明修直接利用木料上的树洞进行创作，张泽国选用电路板这一非传统的材料，黄维中以铝板为底胎使用化学试剂进行腐蚀产生纹理效果，苏笑柏、沈也等艺术家以漆作为媒介的创作作品，尽管有些作品难以用“漆画”概念去定义，但与漆艺材料的磨合过程成为他们创作的核心，他们在此完成了漆艺语言的重新建构。

　　尽管艺术界对“综合材料漆艺”有着各种不同声音和争议，但在我看来，大漆对所有材料都是包容的，材料在艺术语言的情境中没有对错，只有适合与不适合。在漆画创作中只有新思与相应语言的涌出，再没有其他问题存在。材料也只是帮助艺术家实现观念表达的手段，正因为艺术家的创造力，让大漆产生了变化万千的效果。创作的过程实际上也是艺术家认识自我的过程，好的作品正是在这种过程中诞生的。

　　接触漆画创作以来，我也践行着对材料的探索实验。我曾在作品中尝试利用海绵、麻绳、金属等物质与大漆结合，产生新的肌理和效果；尝试用火烧、烟熏等方式改变大漆的形态，在其中寻找更多可能性的变化，探索画面传达思想和材料的契合度。

　　随着实践的深入，我愈加真切地感受到不同的材质为漆艺带来了无限的可能和空间。在当代文化背景下，艺术的形态和手段更加开阔，质材的美感得到探索和挖掘，价值属性得以延展，并赋予质材多元的艺术美学和精神内蕴。材料的质感在现代漆画表现中尤为可贵。材料作为现代漆画表现的媒材之一，更多地反映在材料语言本质的回归，成为漆艺家个人思维的释放。

　　在当代漆画创作中，仅仅拥有对材料实验的冒险精神是不够的，对待大漆精神的沉潜专研不可或缺。对创作者而言，传统漆艺的美学精神和社会价值是否已经内化于心，漆艺家能否掌握漆的自身语言去创作具大漆风骨和生命力的独特艺术作品，这些都给漆艺家提出了新挑战。

　　如今我们所说的大漆精神应该是与漆艺家同化之后，渗透在作品的每一个角落。对很多人而言，大漆仍停留在“材料”层面，创作出的作品仅仅是“用”漆，而非将大漆精神鲜活地呈现在观者面前，作品没有大漆的风骨韵味。人们常说的“一出手就有的漆的味道”，只会出现在对大漆有深入研究之人身上。对漆艺家而言，漆性应该是根植于血肉中的东西。

　　的确，丰富的材质使用，运用不当便可能让作品成为令人生厌的技艺炫耀。艺术创作者的心境与思想成果才是决定作品高度的重要原因，这决定了漆画的材料在由“物”上升到“意”的过程中，主观的情感渗透其中使表意性给当代漆画的材质带来活力和精神内涵。当然这些只是我个人在材料语言探索中的一些小感受，我深知道这只是一个开始，还远远不够。

来源：美术报

 The experiment of contemporary lacquer painting materials

黎雪翚 硕果·炫 漆首饰

In the past period of time, the lacquer painting by thousands of years of traditional paint process, flat, light, light "as the evaluation standard of lacquer painting, lacquer art and cultural capacity already in new period can carry beyond the traditional lacquer art category, needs a carrier and manifestation of more to reflect the spirit of lacquer the level of thinking. Therefore, the use of lacquer painting material never isolated, imperative exploration of new materials and application, it makes the modern lacquer art can more freely display their artistic conception, outside also re-examine hidden in the lacquer painting in the spirit of Chinese lacquer.

As a main medium material as lacquer art form, Chinese lacquer art is the beginning of lacquer as the center, to explore the possibility of all experimental materials.

Ancient art is born in the attachment, is the material practice experience with natural paint as the main body, to use such as bamboo, hemp, leather, paper, rattan, metal and other materials, and constantly melted bodiless, dry lacquer techniques to try various other painted decoration materials. It is in the thousands of years of continuous experiments that lacquer art gradually changed from practicality to aesthetics, from dependence on the device to lacquer painting, and became an independent painting. Lacquer art completed the transformation from the technological form to the shelf form to the contemporary sense. At present, Chinese lacquer art has been standing at a new historical juncture, the new thought and culture under the impact, how to update the connotation and denotation of China lacquer in the multicultural pattern, has become a new problem faced by contemporary lacquer Chinese.

In the past period of time, the lacquer painting by thousands of years of traditional paint process, flat, light, light "as the evaluation standard of lacquer painting, lacquer art and cultural capacity already in new period can carry beyond the traditional lacquer art category, needs a carrier and manifestation of more to reflect the spirit of lacquer the level of thinking. Therefore, the use of lacquer painting material never isolated, imperative exploration of new materials and application, it makes the modern lacquer art can more freely display their artistic conception, outside also re-examine hidden in the lacquer painting in the spirit of Chinese lacquer.

In the modern art movement, many artists have already begun to paint lacquer materials "comprehensive" test, they were created with all kinds of possible materials into the paint, and gradually standard and whitewash distance. They open their hearts in painting art, the deep sense of self and honest expression thinking and ideas and report, comprehensive use of new materials and traditional materials for mining and summary. If the direct use of wood lacquer artists Tang Mingxiu tree creation, Zhang Zeguo chose to board this non traditional materials, Huang Weizhong to produce aluminum basal texture effect of corrosion of the use of chemical reagents, Su Xiaobai, Shen Ye and other artists to paint as a media creation, although some works hard to use "painting" concept the definition, but the running in process and lacquer materials become the core of their creation, they then completed the re construction of lacquer art language.

Although art circles there are different voices and controversy of "composite lacquer", but in my opinion, lacquer is inclusive of all materials, materials in the art language in the context of no right or wrong, only and is not suitable for. In the creation of lacquer painting, there are only new ideas and corresponding languages, and there are no other problems. Only material help artists to realize the concept of a means of expression, because the artist's creativity, let the changing effect of lacquer. The process of creation is actually the process of recognizing the self, and the good works are born in this process.

Since the creation of lacquer painting, I also practice the exploration of materials. I have tried to use the material of sponge, hemp, metal and lacquer combination in the works, and the effect of the new generation of texture; try to use fire and smoke changing lacquer form, look for changes more possibilities in the exploration of images to convey ideas and materials fit.

With the development of practice, the more I feel a different material brought infinite possibility and space for art. Under the contemporary cultural background, the form and means of art are more extensive. The aesthetic feeling of quality material is explored and excavated, and the value attribute is extended. It also endows with multiple aesthetic and spiritual connotation. The texture of the material is particularly valuable in the performance of modern lacquer painting. As one of the media material of modern lacquer painting performance, more reflected in the return to the essence of language material, become lacquer artists personal thought release.

In contemporary lacquer painting creation, it is not enough just to have the material the spirit of adventure, the spirit of accumulation of research to treat lacquer indispensable. For the creators, traditional lacquer art aesthetic spirit and social value are internalized in the heart, can grasp the paint lacquer artists in their own language to create unique works of art with vigor and vitality of the lacquer, which gave the lacquer artists put forward new challenges.

Now we say the spirit should be lacquer and lacquer art house assimilation, in every aspect of the work. For many people, and then remain in the material level, the creation of works are just "use" paint, instead of lacquer spirit vividly presented in front of the viewer, no character charm of lacquer works. People often say "on the one hand some paint smell", will only appear in the lacquer has in-depth research on them. The lacquer ware house, paint should be rooted in the flesh.

Indeed, rich