关于天然大漆
天然大漆是由漆树分泌的树脂汁液，属于一种可再生的天然资源。与天然橡胶类似，大漆以其独特的物理和化学特性在自然界和人类生活中发挥重要作用。全球范围内能够分泌漆液的树种主要分布于亚洲、北美洲和中美洲的部分地区，其中中国是漆树的重要原产地之一，具有悠久的大漆应用和加工传统。
大漆几乎可以涂在任何表面上：木材、竹子、石材、金属、皮革，甚至可以是“脱胎漆”，即将前几层漆涂在漆坯上，然后剥去漆坯，这样最终的成品就只有漆了。大漆在干燥后具有非凡的强度和耐用性，美观且用途广泛，对水、酸、碱或磨损具有很强的抵抗力。由于其耐用性和美观性，大漆已用于日常用品以及艺术品。
但是，大漆操作起来非常困难。除了漆器是一种强烈的过敏原这一不便之处之外，由于大漆的干燥方式，必须将其涂成非常薄的一层。如果漆层很厚，只有外表面会与氧气发生反应而变硬，而内部则保持液体状态。因此，要达到装饰所需的 0.5 到 1.8 厘米的厚度，可能需要数十层甚至数百层。每一层都必须仔细涂漆、干燥和抛光，并且需要一到两天的时间。仅仅是准备一件物品就可能要花几个月甚至几年的时间。但最终的结果让这一切都值得。
About Natural Lacquer
Natural lacquer is a resinous sap secreted by lacquer trees, classified as a renewable natural resource. Similar to natural rubber, lacquer plays an essential role in both nature and human life due to its unique physical and chemical properties. Globally, trees capable of producing lacquer sap are primarily found in parts of Asia, North America, and Central America, with China being one of the major native regions. China also has a rich tradition of lacquer application and craftsmanship.
Lacquer can be applied to almost any surface: wood, bamboo, stone, metal, leather, and even in the form of "bodiless lacquer", where the first few layers are painted on top of a body which is removed, so the final object is only lacquer. Once dried, lacquer exhibits extraordinary strength and durability, combining beauty and versatility with strong resistance to water, acids, alkalis, and abrasion. Due to its durability and beauty, lacquer has been used for both everyday items and artistic creations.
However, working with lacquer is extremely challenging. Besides the inconvenience of its being such a potent allergen, it must be painted on in very thin layers because of the way it dries. If the layers are at all thick only the outer surface will react with oxygen to harden, leaving the inside liquid. As a result, to build up the thickness of 0.5 to 1.8 cm needed for decoration can require dozens, or even hundreds of layers. Each layer must be carefully painted, dried, and polished, and take one to two days. Just preparing an item can take months or years. The end result makes it worthwhile.
工具介绍
大漆制作中使用的工具种类繁多，这里仅列举其中几种常见的工具：
发刷：主要用于涂漆，用长发制作而成，为漆艺独有的工具。拥有柔软和良好的吸附性，可以均匀涂布漆液，避免留下刷痕。
刮刀：用于调漆、刮灰等。 种类多样，有牛角、塑料、木材、金属等材质。
橘子油：作为稀释剂和清洗剂，清洗漆刷及粘在皮肤上的漆。
砂纸：用于打磨漆的表面，不同目数的砂纸作用不同。
箩筛：用于筛制干漆粉、碳粉、瓦灰等。孔径大小从14目到120目不等，需根据材料颗粒的细腻程度进行选择。
Tools Introduction
The tools used in lacquer production are diverse; here are some of the most common ones:
Brush Made from Hair: A unique tool in lacquer art, crafted from long human hair. It is soft and highly absorbent, allowing for even application of lacquer without leaving brush marks.
Scraper: Used for mixing lacquer and smoothing putty. It comes in various materials, including horn, plastic, wood, and metal.
Orange Oil: Serves as both a thinner and a cleaner, used for cleaning lacquer brushes and removing lacquer from the skin.
Sandpaper: Used for polishing lacquer surfaces. Different grits of sandpaper provide varying effects depending on the desired finish.
Sieve: Used to filter dry lacquer powder, carbon powder, lime, and similar materials. Mesh sizes range from 14 to 120 and should be selected based on the fineness of the material particles.
传统漆器的制作工序
大漆物品以天然材料为基础，既无有害副作用，也不造成环境污染，是一种可持续的材料实践。
漆器制作流程主要包含：制胎、裱布、刮灰、吃漆、髹漆、装饰纹理、推磨抛光等。其中打磨和窨干贯穿于漆器制作的所有步骤，同时需要满足特定条件，如窨干时，温度在25-30°C之间，相对湿度维持在75%-85%。每一层涂漆至少需要干燥48小时以上，因此，一件完整漆器的制作周期至少需要2个月。
中国漆艺的装饰技法丰富多彩，在明代书籍《髹饰录》中，记录的漆工艺表现技法就达497种，如素髹、描金、填漆、螺钿、雕漆、金银平脱、变涂、犀皮等。它们可以独立运用，形成各自的漆艺品种，也可以综合运用。
Production Process
Lacquerware is crafted from natural materials, making it a sustainable practice that is free from harmful side effects and environmentally friendly.
The production process mainly includes the following steps: Substrate making, fabric lamination, putty application (using diatomaceous earth mixed with lacquer to reinforce the substrates), lacquer absorption, lacquering, decorative texturing and polishing.
Sanding and drying are integral to all steps of the process, requiring specific conditions such as maintaining a temperature between 25-30°C and relative humidity between 75%-85%. Each lacquer layer must dry for at least 48 hours, resulting in a minimum production cycle of two months for a complete piece.
Chinese lacquer art has a wide variety of decorative techniques. In the Ming Dynasty book "Xiushilu" (Record of Lacquer Decoration), a total of 497 techniques are documented, including drawing gold, inlay (mainly mother-of-pearl), carved lacquer, filled-in, marquetry, and xipiqi, These techniques can be used independently to create distinct lacquerware styles or combined for a more intricate expression.
大漆发展历史
中国的大漆文化历史悠久，起源可追溯至新石器时代（公元前5000年），最早的漆器应用集中在生活器物上，随着时间的推移，漆器工艺逐渐发展成更具艺术性的装饰技法，并在夏商周时期成为礼仪文化的一部分，用于宗教仪式、贵族宴饮等重要场合。
唐代是漆艺发展的高峰期，螺钿镶嵌、金银平脱等技法展现出奢华与精湛的工艺。到了明清时期，漆艺达到了复杂性和精细度的巅峰，尤其是雕漆、描金等技法被广泛应用。大漆工艺的传承与发展，标志着中国古代文化中精湛技艺的演进，至今仍是文化遗产中的重要组成部分。
17-18世纪，随着海上贸易的扩展，中国漆器通过广州、宁波等港口大量出口到欧洲，进入法国、英国等国家的贵族和王室，成为奢侈品的象征。贵族和上层社会对漆器表现出了极大的兴趣，甚至推动了“Chinoiserie”（中国风）风潮。
在这股风潮的影响下，欧洲工匠不仅收藏中国漆器，还受到启发，创造了如“Vernis Martin”和“Japanning”等新的技法。这些技法将中国漆器的美感融入欧洲艺术，为漆器工艺的发展注入了新的活力，也丰富了中西方文化交流的历史。
About The History
China's lacquer culture has a profound history, tracing back to the Neolithic period (circa 5000 BCE). Initially, lacquerware was used for everyday items, valued for its practicality. Over time, the craft evolved into artistic decorative techniques and became an integral part of ritual culture during the Xia, Shang, and Zhou dynasties, serving religious ceremonies, aristocratic banquets, and other significant events.
The Tang Dynasty marked the peak of lacquer art, with technique inlay (mother-of-pearl) showcasing both luxury and exquisite craftsmanship. By the Ming and Qing dynasties, lacquer art reached its zenith in complexity and refinement, particularly through techniques like carved lacquer and drawing gold. The development and preservation of lacquer craftsmanship represent the evolution of sophisticated skills in ancient Chinese culture and continue to be a vital part of cultural heritage today.
In the 17th and 18th centuries, with the expansion of maritime trade, Chinese lacquerware was exported in large quantities through ports such as Guangzhou and Ningbo. It made its way to European countries like France and Britain, where it became a symbol of luxury, adorning the homes of nobility and royalty.The aristocracy and upper classes were deeply interested in lacquerware, fueling the rise of the "Chinoiserie" trend.
Under the influence of this trend, European craftsmen not only collected Chinese lacquerware but also drew inspiration from it, developing new techniques such as "Vernis Martin" and "Japanning." These innovations integrated the aesthetic essence of Chinese lacquerware into European art, revitalising lacquer craftsmanship and enriching the history of cultural exchange between China and the West.