【作者】 何振纪；

【导师】 郑巨欣；

【作者基本信息】 中国美术学院 ， 设计艺术学， 2013， 博士

【摘要】 本文以中国古代流传至今的惟一明代漆艺专著《髹饰录》为研究对象,通过考察该书的流传历程,讨论了《髹饰录》的研究状况,分析了《髹饰录》作者的出身以及成书的背景,并且重新阐释了《髹饰录》所记录的内容,最后在结合诸家研究成果的基础上对《髹饰录》中所描述的部分工艺进行了试验,总结了《髹饰录》对传统漆艺创新的意义,在突破有关《髹饰录》研究的各种迷思的同时,得以重新认识《髹饰录》对当前漆艺文化遗产研究的重要性。1.《髹饰录》在中国失传己久,直至民国初才复归中国,并且从此开启了中国乃至世界范围内对《髹饰录》进行研究的新阶段。本文梳理了国内外对《髹饰录》研究的情况,藉此得识各方对《髹饰录》的研究虽然重点不一,彼此却相得益彰。本文通过研究发现,有关《髹饰录》写作目的的讨论更是历来争论的焦点所在。针对这一问题作出回应正是对《髹饰录》得以展开重新认识的根基所系,其中的关键便是对作者写作《髹饰录》的意图进行探究。2.《髹饰录》的作者黄成生平不详,本文从与之相关的有限记载发微,分析了他的出身。另外,根据《髹饰录》的描述,本文还讨论了中国古代的漆工传统及其在明代人眼中的状况,并且发现了影响其时人们心目中的漆工形象的几个要素。明代的漆工群体依然可以笼统地分为宫廷及民间两大系统,对宫廷漆工组织的分析以及对几位民间漆工的个案剖析,表明其时漆工的生活与生产正在发生由饱受束缚趋向自由经营的微妙变化。通过比照分析作为民间漆工的黄成在当时所可能身处的境况,可证《髹饰录》的写作与其时漆器的流通发达关系密切。3.《髹饰录》系统地阐述了有关明代漆艺的设计思想、工艺知识、技艺类型、鉴戒品别等等数个方面。其作者黄成精心地运用了一套符合中国传统工艺设计思想的宇宙学观念来组织《髹饰录》的谋篇布局,对各种工具工则及漆艺类型进行清晰描述,却不以漆器制作的流程来安排描述的顺序,可知《髹饰录》的原旨更多是关于漆艺鉴别而不是制作实践。但这些知识其实不但为漆艺鉴赏家所需要,同时对漆工也极具意义。事实上,《髹饰录》所发挥的作用不但与作者最初的写作意图有关,更与它的流传以及如何被使用的情况密切相关。4.《髹饰录》的原文对漆艺制作的描述往往一笔带过,而注释者扬明在他的解释里却每每记录到操作之法。因而,《髹饰录》的使用在传到扬明手上经过补充了一定的操作实践经验之后,便同时成为了一部流传于漆工之间的指导书。借助前人的研究成果,本文通过实验得以验证《髹饰录》中相关的操作记录的正确性,亦即《髹饰录》对漆艺制作具备相当实际的意义。观照当前的漆艺文化遗产研究趋势,这些灵活的漆艺实践经验在传统漆艺的创新研究方面价值非凡,对活化古老的东方漆艺能够起到固本培元的作用,以达至借古开今的目的。更多还原

【Abstract】 Xiushilu, the records of lacquering, as the object of this study, this paper discusses it’s history of Xiushilu’s circulation and research, analyses the author’s career and background, explains Xiushilu’s content, summarizes Xiushilu’s function on lacquer art practice with some forerunners’ achievements and experiments. This paper’s aim is looking for the meaning and usage of Xiushilu on traditional lacquer art culture study today. The main points of this paper as follows:1. Xiushilu had been lost in middle Qing dynasty, only handed down by hand-written form in Japan, until came back China in1927. By compare of the domestic and overseas research state, their points are different, but complement each other. At the same time, the question about Xiushilu’s aim for what usage is contestable. For responding this question, discussing what Xiushilu uses for becomes this paper’s basis aim; the first question is why the author writes it.2. Xiushilu’s author Huang Cheng, his career is unknown.With limited information, this paper concludes his origin, meanwhile discusses the tradition of lacquer artist in ancient China according to the Xiushilu’s records. The ancient lacquer artists could be divided into two parts as royal artists and folk artists,some cases about the folk lacquer artists tells us their social role is varied in Ming dynasty. Huang as one of the folk lacquer artists, I believe that his background must influence Xiushilu’s writing; the currency of lacquer ware at that time plays an important role to it.3. To reinterpret Xiushilu’s content as an important part in this paper, and I explain again its editing manner and its cosmological idea’s foundation and effect. By discussing Xiushilu’s thinking of lacquer design, knowledge of lacquer craft, lacquering types, appreciation and identification, this paper summarizes the characteristic of Xiushilu. From Huang’s original writing, we can deduce that the first aim of Xiushilu is on distinguishing lacquering. But, I think that the currency and usage of Xiushilu are important as the author’s aim to write it.4. The lacquering from Xiushilu’s records about the process o f liquid lacquer and color comes from Yang Ming’s explanation, but not Huang’s text. It means that Xiushilu by Yang’s supplement becomes a work is shared by lacquer artists. With some tests’ results, it is proved that Xiushilu’s description is true. It means the design methods of lacquering from Xiushilu’s records are not only important to the research on traditional lacquer art, but also meaningful to today’s lacquer art practice. So, Xiushilu’s study is indispensible to the traditional lacquer art’s creation in present.更多还原