福建漆艺以福州漆艺为代表,福州是中国著名的漆器之乡，在清乾隆年间发展成为我国的漆器中心，出产的脱胎漆器体薄质轻、平滑无瑕、鲜艳华丽，在国内外曾经有过很高的荣誉。不仅如此，福建还是中国现代漆画的发祥地之一，对漆画画种的确立和现代漆画的发展起着决定性的作用。早在1964年就有漆画作品参加全国美展，开漆画参加全国美展之先河，此后有不少福建漆画家不断在全国美展获奖，现代漆画家乔十光先生曾将福建称之为“中国现代漆画发展的龙头”。福建漆艺成为了我国近现代漆文化的一个重要组成部分，在近现代漆艺史上有着举足轻重的地位。 本文是关于对福建漆艺的研究，通过对福建漆艺的历史、艺术特征、及其本土文化的关系、现状及其原因的分析等方面的具体研究，来论证福建漆艺的历史地位和艺术价值。 本文先从福建漆艺的历史入手，通过对福建漆艺历史的梳理，首先让人们对福建漆艺的源流和发展状况有一个客观的了解。了解它在每个发展过程鲜明的特点，其中包括对艺术风格、人文特征、时代背景与其他地域漆艺状况的异同的比较分析以及国家政策对其的影响等方面，通过分析其特殊性和共性，了解福建漆艺在我国漆艺史上的地位和艺术价值。 在此基础上阐释了福建漆艺及其本土文化的关系，并对福建漆艺的艺术特点进行了分析。接着分析了福建漆艺的现状及其形成原因，以小观大，使我们看到我国近现代的漆艺的普遍状况和存在的问题。 最后，对福建著名的漆艺艺人李芝卿和我国著名漆画家乔十光进行了具体的研究分析，通过他们的贡献和成就论证了福建漆艺对我国现代漆艺的发展所起到的作用和影响。 希望通过本文对探索我国现代漆艺的发展趋势起到一点启示作用，这也是本文的现实意义所在。
Lacquer Art in FuZhou represents a major new trend in FuJian province. FuZhou is a very famous town in china and it became a centre of lacquer vessels during the QianLong Period of Qing Dynasty. The lacquer vessels which they produced by casting was light, smooth, vivid and luxury. Furthermore, FuJian province was also one of places of origin of Chinese Lacquer Art, which decided the development of Contemporary Lacquer Art. In 1964, there were some lacquer works displayed and it was the first time to put them on National Art Exhibition. Following this, a few lacquer painting artists who came from FuJian had been awarded in those exhibitions. A Contemporary Lacquer artist named Shiguang Qiao once gave FuJian Lacquer Art lavish praise. It has not only become the one of important component parts of modern lacquer culture, and also occupied a pivotal position. This article is about the research of Lacquer Art in FuJian. It expounds and proves the historical status and the aesthetic value of it by analyzing some aspects such as history, present situation, characters and native culture. The article takes context as the point of departure. Firstly, I would like to reveal the origin and development of FuJian Lacquer Art, which shows its own special features in different periods. Moreover, I analyze the individual and common character of some aspects, including artistic style, context and political policies. It makes to know the artistic value of FuJian Lacquer Art. Secondly, it explains the relation between the native culture and FuJian Lacquer Art and the artistic feature of it. Furthermore, how has the present situation of FuJian Lacquer Art been taking shape? We can see the universal phenomenon of Chinese Contemporary Lacquer Art by answering the question. Lastly, I would like to make a concrete analysis of tow lacquer artists who are Zhiqing Li and Shiguang Qiao. Their achievements prove that FuJian Lacquer Art exercises a great influence in Chinese Contemporary Lacquer Art. I wish that the article would serve as a good source of inspiration to the development of Chinese Lacquer Art. It is also a reality of the matter.
