Painting techniques of Pingyao Tui Guang lacquerware

Name of China's national intangible cultural heritage: Pingyao tuigung lacquerware painting technique

Applicant: Pingyao County, Shanxi Province

Project No.: 401

Project No.: VIII - 51

Time of publication: 2006 (the first batch)

Category: traditional art

Region: Shanxi Province

Type: new item

Applicant: Pingyao County, Shanxi Province

Protection unit: Pingyao Intangible Cultural Heritage Protection Center

Brief introduction to Pingyao Tui Guang lacquerware painting technique:

Applicant: Pingyao County, Shanxi Province

Pingyao Tui Guang lacquerware painting technique originated in Pingyao County in the middle of Shanxi Province and spread to the vast areas of northern China. Lacquerware made with this technique was well-known in the Kaiyuan period of Tang Dynasty. With the rise of Jin Merchants in Ming and Qing Dynasties, push light lacquerware made great progress. After the founding of the people's Republic of China, Pingyao tuigung lacquerware factory was established, and veteran artists Qiao Quanyu and Ren Maolin gave their apprentices, which brought the production of tuigung lacquerware into a golden age. Since then, Pingyao tuigung lacquerware has become one of the famous varieties of lacquerware in China, and its products have been sold to more than 30 countries, some of which are treasured by the Great Hall of the people and the China Art Museum. In 1989, Pingyao Tui Guang lacquer ware won the national gold cup award.

Pingyao tuigung lacquer art has a complete set of exquisite skills. Its production process mainly includes the following steps: (1) refining lacquer with special formula, skills and facilities; (2) refining cover paint with lacquer and natural tung oil; (3) hanging ash on wooden tire covered with hemp, putting cloth on raw lacquer ash, putting hemp on pig blood ash, and putting paper on Loess glue; (4) making lacquer bolt (painting tools) with human hair and oxtail; (5) using lacquer bolt to make lacquer bolt (painting tools) Drying lacquerware in the shade in the special shade room; (6) gold painting, including the traditional techniques of flat gold and black, drum covering lacquer, gouging gold, covering gold and eggshell inlay; (7) using sandpaper, charcoal, hair, brick ash, sesame oil and so on to make lacquerware bright as a mirror; (8) using inlay, engraving, covering gold, carving ash and other techniques for decoration.

Pingyao Tui Guang lacquer ornaments are divided into two categories: real objects (such as lacquer cabinet, lacquer box, tiaozan, tea table) and furnishings (such as screen, lacquer painting). They have high practical value and craft value and are welcomed by the masses. It is also widely used in the decoration of palaces, temples, halls and study rooms, and has achieved good artistic effects.

At present, the artists who are still living in Pingyao include Xue Shengjin, a master of Chinese arts and crafts, and his successors Geng Baoguo and Jia Xinglin. Due to the impact of modern chemical paint and cashew nut paint, the polished lacquer art based on natural paint is shrinking day by day, leading to the change and loss of artists, and the quality of lacquer art products is declining, which is in an endangered state. At present, Xue Shengjin studio and lacquer art garden have been established in Pingyao County. The materials and files of this art will be sorted out, the Pingyao lacquer art museum will be established, and lacquer art training courses will be held to ensure the inheritance and development of this precious art.