在中国众多的传统工艺美术门类中，漆器是较为特殊的一种，因为它完全不同于石器、青铜器、玉器等材质，漆是一种有机的物质。具有特殊的自然属性，人类对这种材料本质属性的利用和认识程度，决定了漆器制作中需要遵循的技术原则和艺术规律。本论文即首先从生漆的科学属性出发，来着重阐述战国时代的楚国漆艺。中国漆艺有着非常悠久的历史，在这个发展过程中，战国时代的楚国漆艺起到了非常重要的承上启下的作用。作为漆器制造的后起者，楚国充分地利用了优越的自然条件，发展漆树种植和漆器制造业，其漆器制品反映了楚国独特的地域文化面貌，出现了大量精美的杰作，成为今人研究古代漆器的范本，其完美的技术性和艺术性、实用与审美的结合，使得楚国漆器绽放出夺目的光辉。在中国漆艺发展史上，理当是一个最高峰。生漆的自然属性，决定了漆树可以在楚地广泛种植。技术方面，楚国的温度、湿度等气候条件有利于漆器的大量制造。艺术方面，楚国文化的独特内涵深刻影响了漆器的制作；浓厚的巫风，古老的神话传说都在漆器中有所体现。进入春秋战国时代后，楚漆器制造极大地繁荣起来。对于楚国漆器所表现出的纷繁的面貌，本文尝试进行了分期研究，根据已出土的大量实物，按照楚国国家的发展进程分为三个主要时期，并对漆器与青铜器、陶器在造型上的承袭关系，不同时期内漆器的制作工艺、造型特征和装饰纹样作出了分析、比较。在楚国为秦所灭以后，楚文化的影响仍然长期存在着。尤其在漆器制造上，楚国对秦汉有着非常重要的影响。此外，本文还对中国漆器发展的若干问题作出了探讨。如在中国用漆的起源问题上，提出了漆器起源多元论的观点；对于战国时代对漆树种植和漆器制造的国家管理，笔者将生漆作为一种战略性物资，探讨了“漆政”问题。关于楚国漆器的美，本文将其归结为楚国工匠们对生漆材料美感的把握。而这一点对我们今天从事漆艺创作也是有所启发的。

Among the many categories of traditional Chinese arts and crafts, lacquer ware takes up a special place as it differs completely from the materials like stone, bronze or jade. Lacquer is an organic material that embodies special natural features. The degree of understanding and utilization of people on these special features determines the technical and art principles to be followed in making lacquer ware. This article starts with the scientific nature of the raw lacquer to probe the lacquer art of the Chu Kingdom during the Warring States Period(BC475~221).The art of lacquer can be traced back long into the Chinese history. In its development, the lacquer art of the Chu Kingdom during the warring States Period functioned as a vital link between previous and following times. Although late in starting to make lacquer ware, the Chu Kingdom made full advantage of the natural conditions and planted Rhus verniciflua Stokes extensively to promote the lacquer ware production. The lacquer ware of the Chu Kingdom typified the regional culture and the numerous exquisite works have become models for the contemporary researchers in studying ancient lacquer ware. The combination of technology, art, practical usage and aesthetics has made the lacquer ware of the Chu Kingdom since in history. In the development of Chinese lacquer art, the works of the Chu Kingdom clearly reached a high peak.The natural feature of the raw lacquer determines that Rhus verniciflua Stokes could be extensively planted in the Chu Kingdom. Technically, the temperature, humidity and other climate conditions were favorable for the massive production of lacquer ware, with the deep-rooted sorcery customs and abundant myths vividly captured by lacquer art.Upon entering the Spring and Autumn Period(BC770~476)and later the Warring States Period, lacquer ware production flourished in the Chu Kingdom. This article tries to study the various types of Chu lacquer ware according to their times. Based on the excavated relies and the development course of the Chu Kingdom, the article divides the lacquer ware into three periods. In discussing the connection of the shaping between lacquer ware and bronze ware, as well as pottery, the article makes detailed comparison on the production technique, shape and decoration patterns of lacquer ware in different times. Long after the Chu Kingdom was annexed by Qin Kingdom, the Chu culture still exerted its influence. Especially on the lacquer ware production, the Chu culture had important influences on the Qin and Han dynasties. In addition, the article also discusses several issues on the development of Chinese lacquer ware. For instance, on the origin of lacquer application in China, the article raises the view of “multiple origin”, on the national management of Rhus verniciflua Stokes planting and lacquer ware production during the Warring States Period, the author regards raw lacquer a strategic material and discusses the issue of “lacquer policy”.On the beauty of lacquer ware in the Chu Kingdom, the article mainly studies the mastership of Chu lacquer men on the natural beauty of raw lacquer material, which can still offer inspiration for today`s lacquer ware production.