【作者】 宋本蓉；

【导师】 田青；

【作者基本信息】 中国艺术研究院 ， 艺术学， 2010， 博士

【摘要】 中国非物质文化遗产保护的文化工程自启动以来,宏观的层面已经被广泛关注,但是对于某个具体项目的完整全面的研究还很少,而非物质文化遗产保护最终是要落实为具体项目的保护,才能真正体现非物质文化遗产保护的意义。因此单个项目的完整整理与研究尤为迫切。北京雕漆技艺在2006年被列入中国非物质文化遗产保护国家名录,是中国传统手工技艺中材良工萃的典范代表。因此,从这一个案切入对于非物质文化遗产保护方式的探索无疑是有益的。中国非物质文化遗产保护为我们提供了一次思考的机会,思考中国传统文化的现代价值,思考中国文化对人类未来可能有的贡献。因此以未来的立场向传统和当下探寻是北京雕漆技艺保护研究的方向。本文从寻找北京雕漆当下面貌的历史渊源出发,努力从典籍的零散记载和传世实物中考索雕漆文化特质和技艺品质的形成发展历程：雕漆诞生于魏晋时期,是漆艺由平面装饰向深度发展的转折点；唐宋时期,知识阶层的介入形成了雕漆文化特质的基调；元代,大量的制作和名家精品的出现使得雕漆语言日益成熟；明清时期,皇室的需求推动雕漆进入全面发展的鼎盛时期；鸦片战争后,传统文化的式微和工业化的冲击使得雕漆文化传统逐渐溶解,在“物质”领域濒危,在“非物质”领域被质疑,遭遇到从未有过的窘境。由此：雕漆精雅奢华的面貌来自于物质与文化的双重滋养,“国礼”和“时玩”的需求是雕漆制作维持高水准的重要原因,文人群体介入雕漆制作是雕漆文化特质的重要成因,而文化的卸载则是雕漆濒危的根本原因。2003年联合国教科文组织提出《保护非物质文化遗产公约》,中国政府随即启动中国非物质文化遗产保护的文化工程。新的文化背景下,一定会有新的文化观点、新的视觉要求、新的价值观影响北京雕漆的发展。本文针对现在北京雕漆的制作单位、制作人员及产品流通状况进行考察记录。这份记录不仅是对传统雕漆技艺的探究,更是对雕漆传承现状的考察,对雕漆发展机遇的认识。最后在上述调查和研究的基础上,本文提出北京雕漆的保护策略的重点应该是针对技艺的传承和技艺的运作制定切实的保护措施：以国家给予年轻的传承人助学金的方式破解当下北京雕漆的传承危机,以“社会企业”的方式有效帮助传承主体延续和发展北京雕漆。文明是一个不间断的延续过程,让北京雕漆这份美丽珍贵的传统手工技艺遗产一代代传下去是我们的责任,是非物质文化遗产保护的责任。更多还原

【Abstract】 Since the cultural project for the safeguarding of Chinese intangible cultural heritage was launched, more attention has been paid to the macroscopic aspect, while little thorough research has been conducted on a specific project. As the safeguarding of intangible cultural heritage will eventually be based on project safeguarding, it is important and urgent for the thorough data compilation and research of a specific project. Beijing lacquer ware carving craft which was included on the Chinese intangible cultural heritage list in 2006 is the epitome of good material and sound workmanship in the history of Chinese traditional craftsmanship; thus is representative as a case study.The safeguarding of Chinese intangible cultural heritage gives us a chance to think about the modern value of Chinese traditional culture and the possible contribution of Chinese culture to the future of mankind. Therefore, looking to the future benefits of conserving tradition it is important to direct our attention to the study of safeguarding Beijing lacquer ware carving craft.This paper will begin by illustrating the historical origins of the current situation of Beijing lacquer ware carving craft. It will proceed to show the formation and development of the art’s cultural characteristics and technical skills which have been uncovered from granular ancient records. The first carved lacquer ware appeared in Wei and Jin Dynasties, a turning period for lacquer wares to develop in depth from that of a simple plane. During the Tang and Song Dynasties the intervention of the literati formed the tone of the craft’s cultural characteristics. While in the Yuan Dynasty the language of lacquer ware carving craft gradually matured. This was based on abundant production, competitive products and the works of acclaimed masters of the art.The craft, promoted by imperial needs, entered a period of great prosperity in the Qing Dynasty. After the Opium War, the weakness of traditional culture and the influence of industrialization led to the gradual erosion of cultural heritage. Lacquer ware carving craft suffered embarrassment, becoming endangered in the field of "material" and questioned in the field of“nonmaterial". Hence, this paper argues that the elegant and luxurious appearance of carved lacquer wares requires the nourishing of both material and culture; high-level craftsmanship principally originates from the need for high-quality state gifts; the formation of cultural characteristics depends primarily on the intervention of the literati group; and the fundamental reason that has led to the endangered lacquer ware carving craft is cultural unloading.Convention for the Safeguarding of the Intangible Cultural Heritage was brought forward by UNESCO (United Nations Educational, Scientific and Cultural Organization) in 2003. Chinese government thereupon launched the cultural project of the safeguarding of Chinese intangible cultural heritage. In this new stage, the development of Beijing lacquer ware carving craft should be regarded with new cultural perspectives, new visual requirements and new values. This paper investigates and records the production units, production staffs and production circulation conditions of Beijing lacquer ware carving craft. These records are not only the study of traditional lacquer ware carving craft, but also provides understanding of the craft’s current situation of inheritance and development.Finally, on the basis of survey and study, this paper puts forward some practical safeguarding solutions mainly focused on the inheritance and management of the craft, such as providing grants to young heritor by the government to resolve hereditary crisis; enlisting the aid of social enterprises to help the continuation of inheritance subjects; and effectively accelerating the development of Beijing lacquer ware carving craft.Civilization is an on-going process. Our duty is to hand down the precious traditional craftsmanship behind the art of Beijing lacquer ware carving from generation to generation, so as to safeguard intangible cultural heritage.更多还原