Chengdu lacquer art

Name of China's national intangible cultural heritage: Chengdu lacquer art

Applicant: Chengdu City, Sichuan Province

Project No.: 406

Project No.: VIII - 56

Time of publication: 2006 (the first batch)

Category: traditional art

Region: Sichuan Province

Type: new item

Applicant: Chengdu City, Sichuan Province

Protection unit: Chengdu Lacquer Craft Factory Co., Ltd

Introduction to Chengdu lacquer art

Applicant: Chengdu City, Sichuan Province

Chengdu lacquer art is one of the earliest lacquer art in China, which is now in Qingyang District of Chengdu City. Chengdu lacquerware, also known as halogen lacquer, originated in the Shang and Zhou dynasties. The fragments of lacquerware unearthed from the Jinsha site are still colorful and colorful. In the Warring States period, Qin and Han Dynasties, Chengdu lacquer art tended to be prosperous, just as "historical records" said: "thousands of wooden lacquers", "thousands of lacquers". Yang Xiong's "Shu Du Fu" is also known as: "carving tools, a hundred tricks and a thousand crafts." In Tang, song, yuan, Ming and Qing Dynasties, Chengdu lacquer art developed continuously, which had a great influence on other schools of lacquer art in China.

Chengdu's lacquer art is characterized by various processes, meticulous production and long time-consuming. It is especially famous for its decoration techniques with rich regional characteristics, such as carving and inlaying color, carving and filling shadow flower, carving tin mercerization, broach needle carving, hidden flower varnishing and so on. Chengdu lacquerware is made of natural raw lacquer and solid wood. It is a handmade product with artistic and practical features. It is famous for its delicacy, richness, elegance, fine luster and gorgeous colors. It can be hung above the temple to show its splendor, and it can also be used as exquisite and durable daily necessities. Chengdu lacquerware is not only an important witness to the customs of the past dynasties and an emissary of cultural exchanges, but also an important carrier of traditional Chinese aesthetic concepts.

The handiness and artistry of traditional lacquer art determine that Chengdu lacquerware can not be produced by industrial means, but can only be produced by manual labor, and can only be inherited by oral teaching. In recent years, in the crevice between traditional and modern, Chengdu lacquer art is facing a huge survival crisis. The product market is narrow, and there is no successor for the producers. Many traditional crafts have begun to deform and lost. It is necessary to take necessary protective measures as soon as possible to save this dying ancient craft.