摘 要本文主要以社会发展为背景研究河北大厂现代花丝镶嵌制作技艺及其产品所展现出来的手工艺文化。花丝镶嵌是以金、银、宝玉石等材质为对象制作的用以满足人在装饰自身及其生活环境，并兼顾一定实用功能的一类传统金银器物，也指打造这类器物的整个工艺体系。它的出现和发展历程记载了人类认知金、银、宝玉石等材质物性的过程和手工制器的造物思想。作为人类利用自然资源创造满足自身物质和非物质文化需求的一类产品及一门技艺体系，花丝镶嵌在不同的历史时间段和地域空间里展现出技艺和文化上的差异性，在技艺的展示方式及来源上具有一定的同源性，在造型、功能以及装饰纹样等方面具有高度的相似性。本文首先对花丝镶嵌技艺及其产品进行历史溯源，厘清其概念和定义，并通过文献与文物资料进行考据论证。第二，从现有的生产方式去分析手工艺的构成关系，包含錾刻、蒙镶、珐琅、恰克图、花丝和镶嵌等具体技艺的表现形式、特色以及在当下的发展和变迁，分析手工艺的显性文化。第三，从工匠身份的转换、产品语义的现代表述与手工方式的现代价值等方面去解读与论证手工艺文化的内涵，论述技艺背后的隐性文化。第四，从手工艺文化的基础、路径、主旨和原则等方面进一步探索手工艺人的思想本源，这是手工艺文化的根本，也是千百年传承发展过程中形成的文化基因和种子。最后，从现有手工艺文化中寻找规律与探索本质，其目的是思考手工艺与人的关系以及手工艺的文化启示，以求为花丝镶嵌制作技艺的传承延续建构理论依据和思想基础，探索其发展方向。本文研究花丝镶嵌制作技艺及其产品，通过以小见大的手段论述其手工艺文化并得出结论。第一，手工艺作为一种文化载体，其发展与传承的本质是文化的传播与延续；第二，“手作”是人认知、了解自然资源进而将其转换为自身需求的最直接手段，且“手”与“人”的伴生关系决定了手作的价值和意义；第三，在以工业化为主要生产方式的现代社会，手工艺产品的非物质文化属性日益重要；第四，手工艺不会消失，部分传统手工艺已经或即将走向没落乃至完全退出历史，但新的社会环境将诞生新的手工艺及相应的工艺文化，推动手工艺走向新的高度。

Abstract This paper studies the art culture of the modern filigree mosaic products and its production technology from Dachang, Hebei province under the background of social development. Filigree mosaic is used to describe one kind of artificial objects made of gold, silver and gemstones and used to decorate people themselves or their living environment, as well as the traditional hand-made skills creating them. The emergence and development of filigree mosaic record the cognition process of human on gold and silver and express the idea of hand-maker creation. As a kind of products or a technical system by which human used to exploit natural resource to meet its own material and non-material cultural needs, filigree mosaic showed diverse skills and cultures in different historical periods and geographical space. However, it shows that the homology on the display ways and the source of the skills are obvious. The modeling, function, decoration, patterns and other aspects of filigree mosaic are highly similar.Firstly, the filigree mosaic products and technology history are traced back to date and their concept and definition are clarified by summarizing and analyzing the literature and cultural relics. Secondly, the performance forms, characteristics, current developments and nowadays changes for the specific skills of existing production mode, which include chisel, inscribed, enamel, chuck, filigree, mosaic etc., are used to research the composition relationship and the explicit culture of the handicrafts. Thirdly, the cultural connotation and invisible culture of the hand-made are interpreted, demonstrated and expressed by the transformation of craftsmen status, the modern expression of the product semantics and the modern value of manual methods. Fourthly, the origin of the craftsmen’s thought, which is further explored from the basis, path, subject, principle and other parts of the culture, is supposed to be the cultural genes and seeds formed during thousands of years of development and inheritance and is the fundamental of the hand-made culture. Finally, in order to construct the theoretical basis, build ideological basis and exploit development direction, the relationship between handicraft and human and cultural inspiration of handicraft are discussed according to find the law, and to explore the essence from existing handicraft cultures.Studying on the manufacturing skills and products of filigree mosaic, and furtherly extending the scope to the whole handicrafts, this paper conclude several inclusions. Firstly, as a type of the culture carrier, handicrafts essence of development and inheritance is the transmission and continuation of culture. Secondly, "Handmade", which is the most direct means for human cognizing, understanding of natural resources and then further converting it into its own needs, has the value and meaning determined by the associated relationship between "hand" and "person". Thirdly, in the modern society with industrialization as the main mode of production, the primary task for handicraft skills is creation of non-materialistic spiritual culture. Fourthly, although some of the traditional skills have been or are about to decline or even completely extinct inevitable, new handmade skills and the corresponding craft culture will be born in the new social environment and will promote handicraft skills to a higher level, and as a result handicrafts are forever.