該圖為清代中期宮廷漆盒一組，由大，小組成套盒，均為子母口，鼓腹，圈足，盒為圓形，做工精美，為古代宮廷皇室使用，盒外漆上繪有龍紋，大直徑21.7，高13.6，小直徑12，高7.5。具有極高的收藏價值。
清王朝是我國封建社會的最后一個朝代。其前期、中期政治統一，經濟強盛。清道光年間以后，由于國內階級矛盾和民族矛盾的日益深化以及西方列強對中國的掠奪，使中國進入了半封建半殖民地社會，清王朝也逐步走向滅亡。
清代康雍乾三朝的工藝美術品，如玻璃器，瓷器，琺瑯器，金銀器玉器，漆器等，無不制作精美，裝飾華麗，體現了清代康乾盛世的氣魄和時代特點。清嘉道以后，工藝美術的發展進入了低谷。其造型裝飾和制作工藝等方面，水平明顯下降雖偶爾也有精巧典雅之作，但總體上來說，比清前期有明顯的衰退。僅就漆器而言，在清康，雍，乾時期進入漆器發展的黃金時代，主要體現在以下三個方面：
第一，清代漆器是對幾千年的漆器傳統工藝的繼承與發展。
第二，漆器制作得到了皇家的重視和提倡，形成了以造辦處為主的宮廷漆器制作中心，并與地方漆器生產并存，共同發展，出現了互相影響、互相借鑒的局面。宮廷造辦處集中了全國各地的優秀制漆藝人為皇家服務，而地方制作的具有濃厚地方特色的漆器也以進貢的形式進入宮廷，從而極大地促進了漆器工藝的發展和提高。
第三，清代漆器的制作和使用涉及到生活中的各個方面。尤以宮廷漆器最為突出，大至宮廷典章用品、陳設品，小到生活日用品、文房用品和賞玩用品。目前，尚無經過考古發現的清代漆器問世。人們所見的清代漆器都是傳世品，主要收藏在北京故宮。
最能代表清代漆器制作水平的是清官造辦處制作的漆器，現依據北京故宮所藏，介紹清代宮廷漆器的品種和特色。
1一色漆。一色漆是指器物表面上只髹一個顏色的漆器。清代制作的一色漆器有朱漆，黑漆和金漆等。
黑漆與朱漆是漆工藝中最常用的裝飾手法也是漆工藝中制作最多最普及的品種。黑漆與朱漆是伴隨著漆工藝的產生而出現的，清代繼承了這一具有幾千年歷史的傳統工藝，制作了許多黑漆與朱漆的器物。清代制作的黑漆與朱漆器以具有實用價值的器物居多。黑漆有圓腿書桌條桌，膳案，香幾硯盒，捧盒，筆管等。朱漆的有書桌，痰盂，香盒，捧盒等。這一類漆器雖無任何裝飾與花紋，卻以其優美的造型和純正的漆色取勝。其中清乾隆年間制作的脫胎朱漆盤，蓋碗，盒，是朱漆中的代表作。
金漆就是在器物上貼金的做法。貼金的方法有貼金、上金、泥金。清代以金漆制成的漆器最著名的就是陳設在太和殿象征皇權威嚴神圣的金漆龍紋寶座，屏風等作品。在清代以金漆為地的漆器制作較多，其上又加其他的裝飾工藝，如描金、描銀、描漆等。這類漆器制品一般不劃入金漆類。
2描金漆。描金漆有黑漆描金與朱漆描金兩種。屬于清早期的描金漆器較少，且均無明確的款識。清雍正乾隆時期曾制作了大量的描金漆器。
清乾隆時期的描金漆器不僅數量多器物造型變化多，而且黑漆描金，朱漆描金兼而有之，也有少數的紫漆描金、罩金漆等。罩金漆應稱為描金罩漆一般是在描金花紋上再罩一層透明漆，仍可看到描金花紋。這種技法在明晚期漆器中已有，以盤居多。清代繼承了這一髹漆傳統，制作的器物仍然以盤為主，描繪山水景色，或花卉配以詩句。罩金漆既保護器物的金色不被磨損，又使花紋區別于描金，別具特色。
3描漆與描油。在描飾類漆器中，除了描金，還有描漆與描油。
描漆是早期漆器中最常使用的漆工藝即在光素的漆地上用各種色漆繪出花紋的做法，又稱彩漆，描彩漆。清代漆器中具有清早期風格的描彩漆有牡丹紋長方幾。清雍正時期的描彩漆作品較多。清乾隆時期描彩漆制品相對減少，帶有款識的作品較少。
漆畫也是描漆的一種，只是色彩更為單純更為寫意。漆畫是指用一種顏色漆在漆地上描繪花紋，再用黑漆、金漆或其他色漆勾描紋理。
描油是以油代漆，在漆器上畫出花紋的做法。描油與描漆的不同之處是描油可以調制出任何顏色，色彩變化多，紋飾絢麗多彩，取得描漆達不到的藝術效果。描油的做法早在就已使用。據考證，戰國時用桐油或蘇子油來調制漆，明代使用密陀僧調油漆。
4描金彩漆描金彩漆是描金與描彩漆兩種漆工藝的合稱。清代漆器的特點之一就是多種漆工藝的綜合運用，即在一件器物上應用兩種或兩種以上的漆工藝。清代的描金彩漆作品數量較多，造型豐富多彩，有實用品與觀賞品兩類。一般均以描金勾勒紋飾的輪廓及細部紋理，以彩漆描飾花紋，既金碧輝煌，又斑斕絢麗。
5填漆填漆有磨顯與鏤嵌兩種方法填漆的做法為漆胎上髹漆以后在漆面上雕淺而平的陰紋。雕成之后，以所需的色漆填入陰紋，填入之漆需濃厚或高出漆地表面經磨顯才能與原漆地平滑一體，再經推光而成。填漆作品表面平滑光亮，用手撫摸時感覺細膩而潤滑，具有完美和諧的藝術效果。
6戧金彩漆戧金彩漆是戧金和彩漆兩種工藝同時施于一器之上。戧金彩漆有兩種一種是戧金填彩漆，一種是戧金描彩漆。這兩種方法制成的漆器在清代同時存在，在鑒別其制作工藝時需仔細觀察。這兩種做法都是用戧金勾勒出花紋圖案的輪廓及枝葉的細部紋理。
此外，清代還有犀皮漆、款彩等漆器品種。在鑲嵌類漆器中，還有嵌竹、嵌牙、嵌蜜蠟、嵌銅、嵌銀絲等品種。
清代漆器的發展得到了皇帝的推崇。在清宮內，漆器的應用非常廣泛。其中有象征帝王權力的寶座、殿堂和房間陳設裝飾品、文房用品、飲食具、宗教法器、家具、化妝用具、樂器、吉祥器具、取暖用具以及日常用的盤、碗、蓋盂、冠架等。總之，在清代，漆器已經滲透到宮廷生活的每一個領域，各地官員也將漆器作為重要貢品進貢朝廷。
2．清代地方漆器
清代的漆器制作以宮廷造辦處為中心。造辦處集中了全國各地的能工巧匠，具有雄厚的物質基礎。由于不惜工本，所以制作出的漆器華麗精美，代表了清代漆藝的最高水平，同時也體現了皇家的藝術風格及審美情趣。除了造辦處，全國還有許多地方也制作了具有濃郁地方特色的漆器，如揚州的鑲嵌漆器、福建的脫胎漆器、山西的款彩漆器、貴州的皮胎漆器等，還有蘇州、杭州、四川、廣東、北京等地也都制作了各具特色的漆器。
(1)揚州。歷史上的揚州就是重要的漆器制作地。到了清代，揚州是著名的商業城市，玉器和漆器享譽中國。揚州漆藝最高成就的是百寶嵌工藝。盧葵生便是揚卅著名的髹漆藝人。盧葵生，名棟，字葵生，世籍江都（今揚州），清嘉慶至道光年間人，精于百寶嵌工藝，傳世的盧氏作品有四十余件。其中以文房用品居多，如漆硯盒、漆壺、筆筒、花盆、果盒、套盒、臂擱、琵琶等。盧葵生漆器作品常使用百寶嵌、淺刻，兼有填漆、戧金、描金、描漆等工藝。其百寶嵌作品所嵌料石極少珍貴的珠寶，而以螺鈿、象牙、料珠、雞翅木、岫巖石鑲嵌而成，題材多為山石、野花、瑞禽、游魚，巧妙組合，神態逼真。其中以故宮藏三雄圖漆硯盒最具代表性。其淺刻作品有雙駿圖、柳燕魚藻圖、人物圖等，以臨摹新羅山人之作而著稱，追求清淡雅致、疏朗灑脫的文人畫效果。
(2)福建。清代的福建以制作脫胎漆和木雕金漆而著稱。清乾隆中期著名髹漆藝人沈紹安掌握了髹漆技巧，領悟到我國泥塑佛像和夾纻造法，因而創造出別具一格的脫胎漆器。沈氏所制漆器在調料時除用油料沖淡原漆（黑漆）外，主要以金粉、銀粉作調合料，解決了一般漆色干后變為黝黑，難與其他鮮色顏料調和的困難，調配出許多前所未有的漆色，如珊瑚紅、淡黃色、橘黃色、白色、蘋果綠、松綠等鮮艷的色彩。傳世的福建脫胎漆器有描彩漆、描金彩漆，多塑造佛像及神話傳說人物，兼有瓶、盒、花插、筆筒、杯等日常生活用品。沈氏一族除了沈紹安，其孫沈雨生于清嘉慶年間，也是頗具才華的沈氏傳人。到清光緒年間其五代孫沈正鎬、沈正恂繼承祖傳家業，制作出大型的脫胎器皿。他們曾兩次將所制漆器貢入宮中，獲得一等商勛、四品頂戴的賞賜。直到目前脫胎漆器仍是福建享譽中外具有濃厚地方特色的工藝品。福建脫胎漆器在國內許多大博物館中均有收藏，如北京故宮、上海博物館、福建省博物館、山東博物館等。
(3)山西。山西是我國漆器發源地之一，具有悠久的制漆工藝歷史。清代的山西善制螺鈿漆器、剔犀、款彩和罩金漆器。今天山西的平遙、新絳、太原仍制作彩漆、鑲嵌和款彩漆器。山西制作的小柜、捧盒、首飾盒等曾以進貢的形式貢入宮廷。
(4)貴州。清代的貴州以制作皮胎漆器而聞名于世。它作為地方漆器的一個品種貢入宮廷。皮胎漆器較之木胎體輕、韌度好。其制作方法為在牛皮胎上刷黑漆或朱漆作地，再在漆地上用金描繪花紋，有的則再罩上一層籠罩漆。這種做法在明代《髹飾錄》中被稱為“描金罩漆”。貴州所制作的皮胎描金漆器多為盤、碗、盆、盒等日常生活用品，使用價值頗高。
(5)蘇州。蘇州是清代宮廷造辦處制作雕漆的中心。清代宮廷的雕漆制品大部分都是蘇州制作的，其造型、圖案、款識直接受宮廷造辦處指揮和控制。除了官辦作坊直接為宮廷服務，地方漆器作坊也深受宮廷漆器影響，其雕刻風格是相同的。
(6)杭州。杭州曾是南宋制漆的中心之一，有許多一家一戶的漆器作坊。清代的杭州仍保留了過去的傳統，漆器制作以一家一戶為單位。目前材料所限，只知道杭州在晚期時期制作罩漆。
(7)四川。在地方貢品中，四川進貢漆器的記錄較少，只有有清乾隆五十二年四川布政使王站柱進貢雕漆的記載。流傳至今的漆器中有一件款彩方套盒是四川制做的，盒底有篆書“四川勸工局謹制”款。此盒構圖簡練，紋飾疏朗，線條流暢，采用了款彩與描彩漆兩種漆工藝。從此盒的款識分析，這件漆器是清代中后期由四川的官辦作坊制作的，較為精致，形制也別出心裁。
(8)廣東。廣東是清代重要的對外貿易港口，也是清代制作多種工藝品的著名之地。廣東制作的象牙、家具、琺瑯、玻璃、玳瑁、鼻煙壺等制品享譽京城，也是廣東官員向清官進貢的主要工藝品。廣東陽江市制作有別具一格的漆器，如描金花鳥長方匣，匣為木胎髹漆制成，匣內又襯皮胎，匣外以堆漆雕花而成，雕刻凸起錦紋地，在凸起處又描金，匣面飾梅花、喜雀、蝴蝶，匣內有紙條上寫“怡合和”和“店在陽江城內，里仁閘上開張□造家用皮箱”。這件漆盒的工藝雖不很精致，但它的做法在清代漆器中卻獨樹一幟，代表著一個地方的漆器品種。與此相同風格的漆器在安徽省博物館也有收藏。
(9)北京。北京漆器以雕漆為主。清乾隆以后，雕漆工藝如同清代其他工藝一樣日漸衰落。公元1900年，八國聯軍入侵北京大肆搶掠，使宮內不少的雕漆作品或被焚毀，或者流失。清光緒、宣統年間，北京的德誠局、甫潤齋等作坊對流落民間的清乾隆雕漆曾有過研究。此外，繼古齋有三位師傅也制作雕漆，但他們制作的雕漆不仿古代，有其獨特的做法。這幾家僅有的雕漆字號的產品在當時銷路很廣。每年慈禧過生日時，許多大臣也購買北京雕漆作為貴重禮品貢入皇宮。民國年間，德誠局與甫潤齋的產品主要供應國內市場，而繼古齋的產品主要是出口。由于雕漆工藝在國內外有越來越大的聲譽，銷路廣，在民國年間的北平，雕漆行業由兩、三家發展到二十多家，從業人員也由二十多人擴大到二百余人。
The Qing Dynasty was the last dynasty of our feudal society. Its pre- and post-political reunification and economic prosperity. After the Qing Daoguang years, due to the deepening of domestic class contradictions and ethnic contradictions and the plundering of China by Western powers, China entered a semi-feudal and semi-colonial society, and the Qing Dynasty gradually disappeared.
The arts and crafts of the Kangxi and Qian Dynasties in the Qing Dynasty, such as glassware, porcelain, pottery, gold and silver jade, lacquerware, etc., all exquisitely made and decorated in a gorgeous manner, reflecting the spirit and characteristics of the Qing Dynasty. After the Qing Jiadao, the development of arts and crafts entered a trough. In terms of its decoration and production process, the level has dropped significantly, although occasionally there are exquisite and elegant works, but overall, there is a clear recession compared with the early Qing period. As far as lacquer ware is concerned, in the golden age of lacquerware development during the Qingkang, 雍, and dry periods, it is mainly reflected in the following three aspects:
First, the Qing Dynasty lacquer ware was the inheritance and development of the traditional lacquer ware for thousands of years.
Secondly, the lacquer ware production has received the attention and advocacy of the royal family. The palace lacquer ware production center, which is mainly based on the establishment office, has been formed, and coexisted with the local lacquerware production, and has developed a mutual influence and mutual reference. The court office has concentrated on the excellent lacquer artists from all over the country to serve the royal family, and the locally produced lacquerware with strong local characteristics has also entered the court in the form of tribute, which greatly promoted the development and improvement of the lacquer ware process.
Third, the production and use of the lacquer ware of the Qing Dynasty involved all aspects of life. In particular, the palace lacquer ware is the most prominent, ranging from court articles and furnishings to small daily necessities, stationery and entertainment. At present, there is no Qing Dynasty lacquerware that has not been discovered through archaeological discoveries. The Qing Dynasty lacquer wares that people have seen are all handed down to the world, mainly in the Forbidden City in Beijing.
The lacquer ware made by the Qingguan Office is the one that best represents the production level of the lacquer ware in the Qing Dynasty. It is based on the collection of the Imperial Palace in Beijing and introduces the varieties and characteristics of the Qing Dynasty palace lacquer ware.
1 one color paint. A lacquer is a lacquer that has only one color on the surface of the object. The one-color lacquer ware made in the Qing Dynasty has lacquer, black lacquer and gold lacquer.
Black lacquer and lacquer are the most commonly used decorative techniques in the lacquer process and are the most popular varieties in the lacquer process. Black lacquer and lacquer lacquer appeared along with the lacquer process. In the Qing Dynasty, this traditional craft with thousands of years of history was inherited, and many black lacquer and lacquer ware were made. The black lacquer and lacquer ware made in the Qing Dynasty are mostly practical objects. The black lacquer has a round-legged desk table, a meal case, a fragrant box, a box, a pen tube, and the like. Zhu paint has desks, enamel, incense boxes, holding boxes and so on. This type of lacquer ware, without any decoration and pattern, wins with its beautiful shape and pure paint color. Among them, the lacquer plate, cover bowl and box made by Qing Emperor Qianlong were the masterpieces of Zhu lacquer.
Gold paint is the practice of putting gold on utensils. The method of sticking gold is gold, gold, and gold. The most famous lacquer ware made of gold lacquer in the Qing Dynasty is the works of the golden lacquer dragon throne, screens and so on. In the Qing Dynasty, there were many lacquer wares made of gold lacquer, and other decorative techniques such as gold, silver, and paint were added. Such lacquerware products are generally not classified into gold lacquer.
2 painted gold paint. The gold paint has two kinds of black lacquered gold and lacquered gold. There are few gold lacquer wares in the early Qing Dynasty, and there is no clear description. During the Qing Emperor Yongzheng period, a large number of gold lacquer wares were produced.
In the Qing Emperor Qianlong period, the gold lacquer wares not only changed the number of objects, but also the black lacquer gold, the lacquer lacquer gold, and a few purple lacquer gold and gold lacquer. The gold lacquer should be called gold lacquer. Generally, a layer of clear lacquer is placed on the gold pattern, and the gold pattern can still be seen. This technique has been used in the late lacquer wares in the late Ming Dynasty. In the Qing Dynasty, this lacquer tradition was inherited, and the utensils produced were still dominated by plates, depicting landscapes, or flowers with verses. The gold lacquer protects the gold of the utensil from being worn away, and distinguishes the pattern from the gold, which is unique.
3 paint and oil. In the lacquer ware, in addition to gold, there are paints and oils.
Paint is the most commonly used lacquer process in early lacquerware. It is the practice of drawing patterns with various color lacquers on the lacquer floor of lacquer, also known as lacquer and paint. In the Qing Dynasty lacquer ware, there was a lacquer pattern in the early Qing Dynasty style. There are many paintings and paints in the Qing Dynasty. During the Qing Emperor Qianlong period, the number of painted lacquer products was relatively reduced, and there were fewer works with models.
Lacquer painting is also a kind of paint, but the color is more simple and more freehand. Lacquer painting refers to the use of a color paint to paint the pattern on the paint floor, and then use black paint, gold paint or other paint to trace the texture.
The oil is painted with oil and painted on the lacquer. The difference between the oil and the paint is that the oil can be used to modulate any color, the color changes a lot, the ornament is colorful, and the artistic effect that the paint can't reach is obtained. The practice of oil painting has been used for a long time. According to research, in the Warring States period, tung oil or succulent oil was used to prepare the paint, and in the Ming Dynasty, the meditation was used to adjust the paint.
4 gold paint lacquer gold paint is a combination of two gold paint and paint process. One of the characteristics of the lacquer ware of the Qing Dynasty is the comprehensive application of various lacquering processes, that is, applying two or more lacquering techniques on one object. In the Qing Dynasty, there were a large number of gold-painted lacquer works, and there were two kinds of practical and ornamental products. Generally, the contours and detailed textures of the ornamentation are outlined in gold, and the pattern is painted with lacquer, which is both brilliant and beautiful.
5 paint filling paint has two methods of grinding and embedding. The method of filling paint on the paint tire is to sculpt the flat and flat grain on the paint surface. After the carving, the desired color paint is used to fill the negative lines, and the filled paint needs to be thickened or painted to be smoothed and integrated with the original paint, and then pushed. The surface of the paint-filled work is smooth and bright, and it feels delicate and lubricated when touched by hand, with a perfect and harmonious artistic effect.
6 戧 gold lacquer enamel lacquer is a two-layer process of sheet metal and lacquer. There are two kinds of sheet metal paints, which are sheet metal paints, and one is sheet metal paint. The lacquer ware made by these two methods existed at the same time in the Qing Dynasty and should be carefully observed when identifying the manufacturing process. Both of these methods use sheet metal to outline the outline of the pattern and the detailed texture of the foliage.
In addition, in the Qing Dynasty, there were also lacquer wares such as rhino skin paint and color. In the inlaid lacquer ware, there are also varieties such as inlaid bamboo, inlaid teeth, inlaid beeswax, inlaid copper, and embedded silver wire.
The development of the lacquer ware in the Qing Dynasty was respected by the emperor. In the Qing Dynasty, lacquerware is widely used. Among them are the thrones, temples and room decorations, the housewares, eating utensils, religious instruments, furniture, toiletries, musical instruments, auspicious appliances, heating appliances, and daily dishes, bowls, lids and crowns that symbolize the power of the emperor. Racks, etc. In short, in the Qing Dynasty, lacquer ware has penetrated into every field of court life, and local officials also tribute lacquer ware as an important tribute to the court.
2. Qing Dynasty local lacquer ware
The lacquer ware production in the Qing Dynasty was centered on the court office. The office has concentrated on skilled craftsmen all over the country and has a solid material foundation. Because of the cost of the work, the lacquerware produced is gorgeous and exquisite, representing the highest level of lacquer art in the Qing Dynasty, and also reflects the royal art style and aesthetic taste. In addition to the establishment, there are many places in the country that have produced lacquer wares with strong local characteristics, such as the lacquer ware of Yangzhou, the lacquer ware of Fujian, the lacquer ware of Shanxi, the lacquer ware of Guizhou, and Suzhou and Hangzhou. Sichuan, Guangdong, Beijing and other places have also produced a variety of lacquer ware.
(1) Yangzhou. Yangzhou in history is an important lacquer making place. In the Qing Dynasty, Yangzhou was a famous commercial city, and jade and lacquerware were well-known in China. The highest achievement of Yangzhou lacquer art is the treasure inlay process. Lu Kuisheng is the famous enamel artist of Yang Lan. Lu Kuisheng, Ming Dong, the word Kwaisheng, the world capital Jiangdu (now Yangzhou), Qing Jiaqing to Daoguang years, fine in the process of engraving, there are more than 40 pieces of Lu's works handed down. Among them, there are many stationery items, such as lacquer boxes, paint pots, pen holders, flower pots, fruit boxes, kits, arm rests, shackles, etc. Lu Kuisheng lacquer works are often embedded in the treasure, shallow engraved, and have the process of filling paint, sheet metal, gold, and paint. The treasures embedded in the works are rare precious jewels, and are inlaid with snails, ivory, bead, wenge, and rock. The subjects are mostly rock, wildflower, safari, and fish. lifelike. Among them, the Forbidden City Tibetan Sanxiong paint enamel box is the most representative. His shallow works include double-horse maps, squid, and figure maps. They are famous for the work of the Xinluoshan people in Linyi, pursuing the effect of light, elegant and free-spirited literati painting.
(2) Fujian. Fujian in the Qing Dynasty is famous for making tire paint and wood carving gold paint. In the middle of the Qing Emperor Qianlong, the famous enamel painter Shen Shaoan mastered the lacquering technique and realized the clay sculptures and the sculpt of the clay sculptures in China, thus creating a unique lacquer ware. In addition to using oil to dilute the original paint (black paint), the lacquer ware made by Shen's is mainly made of gold powder and silver powder. It solves the problem that the general paint color becomes dark after drying, which is difficult to reconcile with other fresh color pigments. It has a lot of unprecedented paint colors, such as coral red, light yellow, orange, white, apple green, pine green and other bright colors. The hand-painted lacquer ware of Fujian has painted paint, painted gold paint, and more shaped Buddha statues and mythical legends. It also has daily necessities such as bottles, boxes, flower inserts, pen holders and cups. In addition to Shen Shao'an, the Shen family was born in the Qing Jiaqing period and was also a talented descendant of Shen. During the reign of Emperor Guangxu in the Qing Dynasty, his five generations of Sun Shenzheng and Shen Zhengyi inherited the ancestral family and produced large-scale reborn wares. They have twice plucked the lacquer ware into the palace, and won the first-class honours and the four-piece tops. Until now, the lacquer ware is still a handicraft with strong local characteristics in Fujian and abroad. Fujian lacquer wares are available in many large museums in China, such as the Forbidden City in Beijing, the Shanghai Museum, the Fujian Provincial Museum, and the Shandong Museum.
(3) Shanxi. Shanxi is one of the birthplaces of lacquerware in China and has a long history of lacquering. In the Qing Dynasty, Shanxi made a lacquer ware, a rhinoceros, a color and a gold lacquer ware. Today, Pingyao, Xinyi and Taiyuan in Shanxi still produce paints, inlays and lacquer wares. Shanxi's small cabinets, holding boxes, jewelry boxes, etc. have been admitted to the court in the form of tribute.
(4) Guizhou. Guizhou in the Qing Dynasty was famous for making leather lacquer ware. It tribute to the court as a breed of local lacquerware. The leather lacquer ware is lighter and tougher than the wooden carcass. It is made by brushing black lacquer or lacquer on the cowhide tire, and then painting the pattern on the lacquered floor with gold, and some are covered with a layer of lacquer. This practice was called "golden lacquer" in the Ming Dynasty. The leather lacquer wares produced by Guizhou are mostly daily necessities such as plates, bowls, pots, boxes, etc., and their use value is quite high.
(5) Suzhou. Suzhou is the center of the palace building in the Qing Dynasty to produce lacquer. Most of the lacquer products of the courts in the Qing Dynasty were made in Suzhou. Their shapes, patterns and models were directly directed and controlled by the court office. In addition to the government-run workshops directly serving the court, the local lacquer ware workshop is also deeply influenced by the palace lacquer ware, and its engraving style is the same.
(6) Hangzhou. Hangzhou used to be one of the centers of paintmaking in the Southern Song Dynasty. There are many lacquer ware workshops in one family. Hangzhou in the Qing Dynasty still retains the tradition of the past, and the lacquer ware is made in one household. At present, the material is limited, only know that Hangzhou made lacquer in the late period.
(7) Sichuan. Among the local tributes, there are fewer records of Sichuan tribute lacquer wares. There are only records of the tribute carvings of Wang Zhanzhu of Sichuan Buzheng in the 52nd year of Qing Emperor Qianlong. Among the lacquer wares that have been handed down to the present, there is a piece of color box set made in Sichuan. The bottom of the box is the "Sichuan Persuasion Bureau" system. The box is simple in composition, with a sleek pattern and smooth lines. It is made of two kinds of paints: color and paint. From the analysis of the box, this lacquer ware was made by the official office of Sichuan in the middle and late Qing Dynasty. It is more refined and ingenious.
(8) Guangdong. Guangdong was an important foreign trade port in the Qing Dynasty and a famous place for the production of various handicrafts in the Qing Dynasty. Guangdong's ivory, furniture, enamel, glass, enamel, snuff bottles and other products enjoy a good reputation in Beijing, and it is also the main craftsmanship of Guangdong officials to tribute to the Qing officials. Yangjiang City, Guangdong Province has a unique lacquer ware, such as the golden flower bird, the enamel, the enamel is made of wood enamel paint, the lining is also lined with the skin tire, the enamel is made of piled lacquer, and the embossed embossed land is convex. At the beginning, the gold is painted, and the plum blossoms are decorated with plum blossoms, flowers, and butterflies. There are paper strips on the inside of the book, "Yihehe" and "the shop is in Yangjiang City, and the Liren Gate is opened to build a household suitcase." Although the craft of this lacquer box is not very delicate, its practice is unique in the lacquer ware of the Qing Dynasty, representing a variety of lacquerware in a place. Lacquerware of the same style is also available in the Anhui Provincial Museum.
(9) Beijing. Beijing lacquerware is mainly made of lacquer. After the Qing Emperor Qianlong, the lacquer lacquer process faded like other crafts in the Qing Dynasty. In 1900, the Eight-Power Allied Forces invaded Beijing and looted, causing many of the lacquered works in the palace to be burned or lost. During the reign of Emperor Guangxu and Xuantong, the workshops of Decheng Bureau and Qi Runzhai in Beijing had studied the Qing dynasty lacquers. In addition, following the three masters of Gu Zhai, they also made lacquers, but the lacquers they produced were not antique, and they had their own unique practices. These only lacquered products were sold at the time. Every year, when the birthday of Cixi, many ministers also purchased Beijing lacquer as a valuable gift to enter the palace. During the Republic of China, the products of Decheng Bureau and Qi Runzhai were mainly supplied to the domestic market, while the products of Guzhai were mainly exported. Due to the growing reputation of the lacquering process at home and abroad, and the wide sales, in the Peking period of the Republic of China, the lacquer industry has grown from two or three to more than 20, and the number of employees has expanded from more than 20 to more than 200. .
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山西益昌升文化藝術品有限公司
Shanxi Yichangsheng Cultural and Art Works Co., Ltd.
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