我国有着深厚的传统文化，漆器艺术正是传统文化艺苑中的奇葩。漆艺这门与彩陶同步，比汉字还要古老的艺术，在7000多年的漫长的过程中，不断地汲取其它艺术(如彩陶、青铜器等)的营养，来丰富完善自己，在汉代时就已达到了顶峰。论文的切入点选择在战国、秦汉，这段时间是我国历史上极具张力的时期，各种学说、思想及科技文化蓬勃发展，漆艺正是在这样的大背景下走向成熟、走向辉煌的。战国秦汉的漆器艺术虽说只是漆艺历史中的一段，但是这是极具代表性的一段，其是制作水平之高，使用范围之广，使用量之大都可以说是空前的。战国、秦汉时期的漆艺分布面广，以湖北、湖南、四川等地出产的最为精美和丰富，无论是战国曾侯乙墓出土的大型漆棺的精美彩绘，还是长沙马王堆出土的九子奁巧妙的构思设计，都代表着其时代的最高成就。传统漆艺在学习其它艺术的发展过程中，自己也成为被学习和借鉴的对象。中国绘画中的构图、用线、设色；雕刻中的透雕、浮雕；陶瓷中的彩绘、绞胎；家具中的设计和折叠造型、包装中的套装设计等等无一不从漆艺的百花圃中采撷到自己所需的花朵。此外，中国漆艺的影响力还超越了国界远达日本、韩国、越南等周边国家。然而令人遗憾和始料不及的是从我们这里把漆艺学去的日本、韩国，目前漆艺发展方兴未艾、蒸蒸日上，而作为母体的中国漆艺正在哀微与消亡，为此，本文设专章加以论述。当今中国漆艺的落后，原因很多，值得我们深思。鲁迅先生早在30年代就曾经在《论“旧形式的采用”》一文中，就如何对待传统的态度时提到：“这些采取并非断片古董的杂陈，必须溶化于新作品中，那是不必赘说的事，恰如吃用牛羊，弃去蹄毛，留其精粹，以滋养及发达新的生体，决不因此就会‘类乎’牛羊的。”在新世纪的开始，在我们进行现代化的征途中，如何对待自己的传统文化，是全盘西化彻底地将之抛弃?还是尊古炮制地全盘吸收?还是批判地继承发展?这仍然是摆在我们面前无法回避的问题。论文以史为骨架，以论为血肉，用现代人的目光关注漆艺的过去与现在，作者在写作中不满足于现有的资料与文献，曾到漆器的出土地、到漆器厂作了大量相关考察，将个人的感受和观点融入文章之中。
Lacqrer art,which was cultivated by long and profound Chinese culture,distingrishes itself in the field of traditional art heritage. It originated at the same period of coloured pottery, when Chinese characters didn't come into being.During a long history of over 7000 years,it absorbeb the nourishment of other arts,such as coloured pottery and bronzeware.In Han Dynasty,lacquer art reached its pinnacle. This dissertation focuses on the historic stage of Warring States Period (B.C.475-B.C.221)and Qin-han Dynasty,for at that time,with the prosprity of ideology,technology and culture,lacquer art gradually entered its maturity.Though it is only a section of the lacquer art history,it is undoutedly a representative as to technical virtuosity,scope of usage and quantity. Lacquerwares unearthed fron Hubei Province,Hunan Province or Sichuan Province reputed as most exqrisite and abundant.Both the elegant colourful drawing on the large lacquer coffin excavated from the tome of Marquis Yi of Zeng State and the crafty design of the nine dressing cases unearthed from Han tomb at Mawandui in Changsha are the mikestones of lacquer art in the era.During its developing process of learning fron other arts,traditional lacquer itself became the object of being studied and referenced.A great variety of arts made use of its approaches respectively,including composition,line arrangement in Chinese painting;relief in sculpture;color painting of ceramic;folding in furniture design and serial design of packaging.In addition,the influence of Chinese lacquer art reached the neighbouring countries like Japan,Korea and Vietnam.Out of expectation,Chinese lacquer art is at present on the verge of vanishing while in other countries lacquer art is booming and flourishing.Many reasons resulting in this phenomenon deserve considering.As early as 1930s,Mr.Lu Xun stated his opinions on dealing with tradition in The Essay of Adopting. Old Form,"It is no doubt that the old dribs and drabs from antique must be blent with new works,just like eating beef and mutton,discarding unguis and hair,remaining essence to nourish new life instead of creating herds."At the beginning of a new century,several unavoidable questions are put forward to us:How to treat our traditional art ?Shall we accept westenization as a whole and discard the traditional culture without mercy?Or shall we inherit the traditional art in total?Or critically inherit the traditional art and develop it? History as its backbone,criticism as its branch,this dissertation pays close attention to the past and presence of lacquer art from the perspective of a modern man.Dissatisfied with the existing historic records and documments,the author made a thorough investigation at many excavated sites and lacquerware factories in person.Thus he integrates personal thoughts into the dissertation.
