外宾相中的重庆漆器是如何炼成的？

□文、图/本刊记者 杨艳

外宾相中的重庆漆器是如何炼成的？

□文、图/本刊记者 杨艳

手工磨砚。（图片由受访者提供）

在2016年中国国际友好城市大会的休息区，一批精美的重庆工艺品让远道而来的外国宾客大开眼界，其中流光溢彩的漆器，以其髹饰技艺的精美吸引了不少外宾的目光，大家纷纷对这门“老手艺”赞不绝口，而这些漆器正出产于重庆市城口县。城口漆器采用当地天然生漆和天然木材为材料雕琢成工艺品，制作工艺经过不断革新，如今，重庆漆器髹饰技艺已成为国家级非物质文化遗产的重要内容。不仅如此，城口漆器频频作为国礼赠送给外宾，其知名度已远播海外。

得天独厚的自然条件是福祉

为了探寻外国宾客钟意的重庆漆器是如何炼成的，记者探访了位于城口县的山神漆器展览馆。馆内展示了用漆涂在各种器物的表面上所制成的日常器具和工艺品。馆内的“镇馆之宝”是一件名为“金地五牛瓶”的漆瓶，色彩雍容富贵，质感精致细腻，触感如丝绸般顺滑，其精美程度令人惊叹。

中国工艺美术协会漆艺专业委员会副主任、《漆器通用技术国家标准》评审专家、中国“金凤凰”新产品设计大奖赛评委、中国工艺美术行业艺术大师蔡泽荣，向记者详细介绍了制作过程：这款漆器利用环香木脱脂干燥后镂空成胎，在胎体表面刷上天然生漆加固，采用传统工艺的变涂、磨砚、贴金等技法，将中国十大传统名画《五牛图》磨砚于瓶体表面，传统工艺与名画艺术相结合，五头牛栩栩如生，画面层次丰富。

蔡泽荣告诉记者，城口漆器之所以如此之美，首先就在于它的材料美。他说：“生漆的品质位居全国之首，就在于城口县冬暖夏凉的气候和优良的空气质量，即空气湿度，为制作精美漆器提供了得天独厚的自然条件。善于传承、善于创新的城口漆匠，充分利用这份大自然的恩赐，将漆器的制作世代相传。”生漆是从漆树上采割的一种乳白色纯天然液体，在接触空气后会慢慢变为褐色，并硬化成为漆膜，这是一种耐酸碱、抗腐蚀的天然涂料，脱水活化后，经过配色可制成色彩艳丽的美术漆。

手工打磨。（图片由受访者提供）

手工镶嵌。（图片由受访者提供）

金地五牛瓶

蔡泽荣大师认为，地处偏远的城口虽然经济发展滞后，但群山阻隔，相反使未被过度开发的城口县被赋予了优质的生态环境，同时也造福了当地人。

中国生漆产地广阔，有重庆城口生漆，陕西安康生漆，湖北恩施毛坝生漆，还有贵州毕节生漆，是我国的四大名漆。从地理位置来看，城口县居四大产地之中，它的好品质使得城口县赢得了“中国生漆之乡”的称号。

繁琐工艺凝结民间千年智慧

总的来说，除了重庆，漆器产地主要分布于北京、扬州、上海、福建、山西、贵州、甘肃、江西等地。2016年在浙江省跨湖桥遗址出土的“漆弓”被专家称之为中国的“漆之源”，这是迄今为止，发现最早的中国漆器，距今已有8000年的历史，可见，中国人从那时就认识了漆的性能并用木作胎制成漆器，用于日常生活当中。随着中国的漆器工艺不断发展，时至今日，漆器已从使用领域步入了具有审美功能的艺术领域，从以前的食器、工具等日常用品发展到今天的花瓶、手镯、挂画等饰品。

漆器制作过程繁琐，其流程包括底胎、装饰、打磨、抛光等等。首先需要堆漆上色，接下来的工序包括用画笔绘制图案，在漆器胎体上镶嵌钿片，用刀雕刻花纹等等，而且每件漆器都要通过打磨来控制色彩深浅和光滑度，每完成一道工序后，漆器都要在25℃上下的环境中阴干约一周时间，然后才能进行下一道工序。

何为木作胎？据蔡泽荣介绍，漆器的胎身通常分木胎和脱胎两种，所谓木胎就是精选优质木材为木胎，脱胎是以泥土、石膏等塑成胎坯，经过多层工序制成坚实轻盈的胎体。“城口漆器以木为胎体，用夏布糊漆贴于胎面防裂，再涂刮天然漆灰水，将之磨光滑后，用精制后的天然漆髹饰于表面，在髹饰表面的过程中匠人融入了极其丰富的文化内容。与一般漆器相比，城口漆器更不易腐朽，更加耐用，更有质感。它的制作过程是人与自然天人合一的过程。”

蔡泽荣大师说，“城口漆器充分表现了当地漆匠的智慧，凭借大巴山这个福地，当地农民运用生漆为主要材料，与髹饰工艺相结合，开创了这独具特色的漆艺文化。漆器的高贵气质与独特美感，是传统艺术与文化的生动体现，漆艺将使用与审美艺术相结合，是物质文明与精神文明高度融合的结晶，是城口人民传统文化的一颗璀璨明珠。”

工匠精神让漆器制作世代相传

一门老手艺，传承与守护至关重要。“梅花香自苦寒来，洗净浮华独匠心”，蔡泽荣说，“在这经济高速发展、人心浮躁的年代，传承一门手艺可不容易，除了要有精雕细琢、用心钻研、持续改善、精益求精的匠人精神，还得有一颗排除外界干扰，热爱和坚守这门手艺的情怀，要学这门手艺，就得吃得苦，熬得住，守得住。”

到漆树的生长地，观察漆树苗的生长环境，熟练掌握割漆的时间、季节等，是每一个漆器传承人需要学习的本领。在接触生漆时，还得格外小心，生漆“咬人”，极易引起皮肤过敏，这些都是漆器制作过程中必须吃苦的一部分。

“制作漆器的过程是很枯燥的，这每一道流程都由数10种工序组成，比如制作底胎就有10多道工序，装饰环节甚至可高达上百道工序。要做好一件漆器作品，从开始采集到制作出成品，其间耗费的时间相当长，少则两三个月，多则三年五载。”蔡泽荣说，每一件漆器作品的成形得经过漫长等待，漆器制作就是一个“磨性子”的活儿，慢工才能出细活，急不得，所以得熬得住。

用蔡泽荣的话说，这是一个考验手艺人的时代。“一旦进入这个行业，除了熬得住，还得有创新意识。由于现在社会的迅猛发展和工业文明的冲击，近年国民收入水平上去了，挣钱的机会多了，面对的诱惑就多了，现在很多手艺人转行了，真正传承手艺的人越来越少了。”蔡泽荣作为城口漆品的代表性传承人，他14岁时就正式拜城口老漆匠为师，一直致力于传统漆艺传承和创新，他认为手艺人需要具备“偏执”的性格，有把事情做到极致，将一条路走到底的执著劲，才能守住前辈传下来的这笔财富，才能将城口漆器发扬光大，闻名于国内外。

延伸阅读

各国的漆器与技艺

漆器不是中国独有，日本有莳绘漆器，缅甸有编结类胎骨漆器，越南有磨漆画，韩国有螺钿漆器，每个国家都有各自的风格和特色。

日本

“莳绘漆器”是日本独具民族特色的漆器，“描金”技术精湛，以金、银作为装饰花纹，即日本所谓的“莳绘”，以金、银屑加入漆液中，干后推光处理，显示出金银色泽，极尽华贵，有时加入螺钿、银丝嵌出花鸟草虫或吉祥图案。

缅甸

编结类胎骨漆器是缅甸传统漆器的代表，包括马鬃编结胎骨漆器和竹编漆器等。工匠用马鬃、竹篾作胎，在胎上刷灰，然后髹以黑漆，再雕刻出各种纹样，在刻纹中填漆，用色多为红、黄、绿3种，与中国填漆接近。

越南

据《越南史料》记载，越南漆器的装饰手法以螺钿、箔绘为主，制作工艺包括金银莳绘、螺钿镶嵌等，风格与中国广州彩瓷和粤绣多有相通之处。越南人融合了古代中国大漆髹饰技艺与现代法国绘画艺术，开创出越南“磨漆画”，与中国漆画相比，其绘画性更为突出。

韩国

韩国的螺钿漆器历史，可以追溯到乐浪时代。螺钿漆器是用经过研磨、裁切的贝壳薄片作为镶嵌纹饰的漆器。所谓薄螺钿是通过精心选用夜光螺等优质贝壳，将其剥离、裁切成纤细的点、线、片，然后一点一点地嵌贴于漆器之上，有时还加入金、银的条、片、屑等，再经髹饰、推光而成，作品精致纤巧。

Displayed in the resting area of 2016 China International Friendship Cities Conference,a batch of exquisite craftworks from Chongqing broadened the outlook of foreign guests from afar.Of these,the glittering lacquerworks produced from Chengkou County of Chongqing attracted the attention of numerous foreign visitors with their f ne crafts,namely Xiushi (a kind of traditional lacquering technique which was usually adopted in the ancient artworks).They all were profuse in praise of this“time-honored traditional craft”.Lacquerware from Chengkou County is carved into a craftwork with local natural raw lacquer and natural woods.Nowadays,as its operating craft has been innovated constantly,the Xiushi technique in Chongqing lacquerworks has been listed as the important part of National Intangible Cultural Heritage.Nevertheless,the Chengkou lacquerworks as the gift are given away to foreign guests so frequently that it has enjoyed world-wide popularity.

The well-being from the nature-endowed condition

To explore how to manufacture the Chongqing lacquerwork which foreign visitors take fancy of,journalist visited the Shanshen lacquer exhibition hall located in the Chengkou County in which some daily appliances or craftworks painted with lacquer in the surface are displayed.The lacquer vase painted with f ve cattle,hence named as“Golden Five Oxen V ase”,is conserved as the measure of exhibition hall.It gains the amazing praise for its f neness,elegance and rich in colors,exquisite texture,and silk-like tactility.

Cai Zerong,deputy director of the Specialized Committee of Chinese Lacquer Crafts Association,the evaluation expert of National standards for general technology of lacquerware,the judge of China“Golden Phoenix”New Product Design Contest and the master of Chinese arts and crafts industry,introduced its operating in detail to the journalist: this kind of lacquerware is hollowed into the blank after drying and degreasing with sandal wood,reinforced by painting natural raw lacquer on the surface of green body,and employs the variable coating and inkstone grinding,gilding and other traditional techniques.Combing traditional crafts and famous paintings,it grinds the Five Oxen,one of the ten Chinese famous traditional paintings on the surface of vase,on which these f ve oxen are extremely lifelike with multi-leveled structure.

Mr.Cai told journalist that why Chengkou lacquerware is so beautiful lies in its f ne materials.He said,“Thenice climate in Chengkou County,which is warm in winter,cool in summer and excellent in air quality,offers a proper air humidity.The quality of law lacquer which ranks frst in China is attributed to its favorable natural conditions which contribute to the manufacturing of graceful lacquerware.Lacquerers in Chengkou who do well in the inheritance and innovation take full use of nature’s gift to pass on the lacquerware production from generation to generation.”Raw lacquer is a kind of natural ivory-white liquid obtained from sumac which will gradually turn into brown color after being exposed to air and then be hardened into lacquer coating.It is a natural coating material resistant against acid,alkali and corrosion which can be made into bright-colored aesthetical lacquer through color matching after dehydration and activation.

Master Cai suggested that the economic development of Chengkou is lagging behind for its geographic remoteness.But conversely,separated by mountains,the unspoiled Chengkou is endowed with a highquality ecological environment,thus benef ting the local people.

In China,a number of places produce raw lacquer including Chengkou in Chongqing,Ankang in Shaanxi Province,Maoba,Enshi Prefecture of Hubei Province and Bijie of Guizhou Province,which boast the four Chinese famous lacquers.From the view of geographical location,Chengkou is located in the center of the four major producing areas and wins the title of“the hometown of Chinese raw lacquer”for its good quality.

Millennium folk wisdom condensed in the processtedious craft

Generally speaking,in addition to Chongqing,the producting area of lacquerware mainly distributes in the Beijing,Yangzhou,Shanghai,Fujian,Shanxi,Guizhou,Gansu and Jiangxi.In 2016,the“lacquering bow”was unearthed in the the Kuahu Bridge Ruins of Zhejiang Province,which is praised as the origin of Chinese lacquer.So far it is the earliest discovery of lacquerwork with a long history of 8000 years.We can see that ancient Chinese people have been familiar withthe property of lacquer since that time,known how to make lacquerworks with wooden green body,and used them in the daily life.With the continued development of Chinese lacquer craft,up to this day,lacquerworks have stepped into artworks with aesthetic function and artistic value from the realm of art usage and expanded the range from daily supplies like utensils for food and instrument to a variety of ornaments like vase,bracelet and hanging scroll paintings.

“The blank of lacquerware mainly includes wooden body and adobe”.W ooden body is referred to the hard and light blank made of high-quality woods through multiple procedures while the adobe is made of clay,gypsum and others.”Mr.Cai introduced,“lacquerworks of Chengkou use wooden blank,paint with the grass linen paste on the blank for the sake of anti-crack,scrap the natural lacquer water,polish them and f nally employ the Xiushi technique to paint the carefully-manufactured natural lacquer on the surface,during which rich culture and geographic marks will be integrated into the process.Compared with the common lacquerworks,the lacquerworks from Chengkou are not perishable but durable with highquality texture.Their operating process demonstrates the union of man and nature.”

The process of manufacturing lacquerware is tedious including molding basic blank,decoration,grinding,polishing and other procedures.First of all,paint the colors on the blank; next,brush a pattern,inlay the tin plate into the blank and carve patterns with knife.Besides,the color and smoothness of each lacquerware must be controlled by polishing; lacquerworks must be dried in the shade of 25℃ for about one week after finishing each procedure and next procedure can be carried out.

Master Cai said,“lacquerwork of Chengkou gives full prominence to the wisdom of local lacquer workers.Benefiting from the endowment of Daba Mountain,local people use raw lacquer as the major material and combine with Xiushi technique,creating such unique culture of lacquer craft.”The elegance and special aesthetics of lacquerworks vividly demonstrate the Chinese traditional art and culture; combining the usage and aesthetic art,lacquer art is both the product from the high integration of material and spiritual civilization and the bright pearl of Chengkou traditional culture.

The lacquerware manufacturing was passed on from generation to generation by the spirit of lacquer workers

Inheritance and conservation of an old craft is of great importance.“Plum blossom’s fragrance comes from the bitter cold; clean the delusion for the wealth and greed,and refresh your spirit to free from vulgarity.”Mr.Cai told,“in the era of rapid economic development and f ckleness among people,it is not easy to inherit one craft.For this reason,in addition to such spirit of lacquer workers that they devote themselves to the study on the continued improvement and refinement with their careful and great endeavor,the enthusiasm and resolution to conserve the craft are needed to free from the external disturbance.To master the lacquer craft requires us to be diligent,patient and resolute.”

It is essential for the inheritors of lacquer craft to be familiar with the time and seasons and other details related to the sumac by observing the growing environment of lacquer saplings in the growth place of sumac.When touching raw lacquer,you must be careful because raw lacquer is likely to“hurt you”- give rise to the skin allergies,which is the inevitable part of hardship you must overcome in the manufacturing of lacquerware.

Mr.Cai said,“the process of manufacturing lacquerworks is dull since each of these processes needs dozens of procedures.For example,more thanten procedures are required to make a blank and even more than a hundred ones for the ornament process.It takes a quite long time,no less than two or three months and up to three or f ve years,to f nish a lacquerware from the beginning of collection to the completion.”He also suggested that the completion of each lacquerware acquires us to wait for a long time.To manufacture a lacquerware needs much patience,but the spirit of lacquer workers,careful and continued endeavors to improve the craft,will be cultivated.All in all,as meticulous ef forts lead to the f ne works,don’t hurry up but be patient and wait.

According to the words of Mr.Cai,we can see that today is an era to test craftsmen.“Once you enter into the handicraft industry,you have to not only be patient but also pursue the creation and innovation.Due to the accelerating of modern society and the shocking of industrial civilization,in recent years,with more opportunities to earn more money,the level of national income is raised.As a result,the growing external temptations lead to the job switch of craftsmen.Consequently,less and less people are devoted to inheritance of crafts.”Master Cai,as the representative inheritor of Chengkou lacquerwork,has been committed to the inheritance and innovation of traditional lacquer craft since he was apprenticed to the the elder lacquerer at the age of fourteen.He claimed that craftsmen should have the“paranoid”personality of making things perfect.Only when we have the resolution to insist on one road until the last minute,can we conserve the wealth passed down by our predecessors,thus carrying forward the lacquerworks of Chengkou and making them enjoy the world-wide popularity and reputation.

Extended reading

The lacquerworks and crafts from various countries

Lacquerware isn’t unique to China since dif ferent countries have their own styles and features like Maki-e lacquerware from Japan,knitting blank lacquerware from Myanmar,lacquer-grinding painting from V ietnam and mother-of-pearl lacquerware from South Korea.

Japan

Maki-e lacquerware is a kind of lacquerwork with unique Japanese ethnic flavor.Japan is consummate in the technique of drawing gold line with gold and silver as decorative patterns.The so-called Japanese Maki-e is referred to a kind of technique that puts the gold and silver bits into the lacquer liquid,polishing after drying it.After the above procedures,the lacquerware will look graceful and showy with the bright color and lustre.Sometimes,lacquerworks are inlaid with the patterns off ower,bird,grass,insect and auspicious others in mother-of-pearl and f lamentary sliver.

Myanmar

The knitting blank lacquerware is the representative of traditional Burmese lacquerware including horsehair-knitting blank lacquerware,bambooknitting lacquerware and others.Lacquer workers use the horsehair and bamboo split to make blank; brush the lacquer ash on the blank; paint the black lacquer with Xiushi technique; carve into various patterns; f ll lacquer into the engraving with three colors of red,yellow and green,which is close to the Chinese method off lling lacquer.

Vietnam

According to the recorded history of V ietnam,lacquerware in V ietnam is mainly decorated with mother-of-pearl and foil painting.Its manufacturing crafts mainly include gold and silver Maki-e,mother-of-pearl inlay,which has something in common with the porcelain of Guangzhou,China and Guangdong embroidery.Vietnamese lacquer workers combine the Xiushi lacquer technique and modern French painting art,creating their grinding lacquer painting.Compared with Chinese lacquer painting,it is prominent in the feature of painting.

South Korea

The history of mother-of-pearl lacquerware can be traced back to the era of Yuelang (one of the four Commanderies of Han Dynasty in the Korean Peninsula).This kind of lacquerware is inlaid with shell chips which are processed through grinding and cutting as the ornament.The so-called light mother-of-pearl is manufactured though many procedures including carefully selecting good-quality shells like green snail; peel them off and cut them into the light points,lines and pieces; inlay them on the bottom of lacquerware little by litter; sometimes,polish them with the Xiushi technique with the gold and silver bars,pieces and chips.All of these meticulous and tedious procedures lead to the f neness of Korean lacquerware.

How to Manufacture the Chongqing Lacquerware of Which Foreign Guests Take Fancy ?

□Article,Picture/Journalist Yang Yan