李芝卿（1894-1976），福建福州人，我国著名的漆艺术家。他年求学于“福建工艺传习所”漆艺科，师从日本漆艺大师原田和闽籍清廷御工林鸿增。本世纪二十年代，他在原田先生的邀请并资助，东渡扶桑，到长崎美术工艺专科学校深造，系统地学习了日本漆]：芝=的表现技法。回国后，他一致力于漆艺术技法语言的探索创新。他在传统漆艺纹饰技艺的基础上，吸收日本漆艺巾的“变涂”．“莳绘”等髹饰技法，创造性地发展形成了一套独特的技法表现手段。并且成功地将其运用到漆画实践叶l，创作了中国最早的一批先验性漆画作品。被誉为“中国现代漆画的奠基者”。
他还积极促成了福州工艺美术学校的成立，为工艺美术事业培养接班人，并亲自担任学校漆艺教师。他为了教学需要，整理出《福州漆器制作工艺》一，对普及漆工艺技术，规范漆艺表现语言，都具有重要的意义。特别是他在福州工艺美术研究所工作期间，将自己t多年所掌握的漆艺髹饰技法制成上百块技法样板，供后人学习和参考。这些宝贵的样板对丰富中国漆艺技法语言产生了深远的影响，至今仍然是中国漆艺教学的直观教材。
深入研究中国传统髹漆技法，将日本传统漆艺莳绘变涂等技法与中国传统漆艺技法相结合，创造出多种新的髹漆工艺。六十多年来他创作了许多精美作品，被中外国家博物馆收藏。20世纪50年代他将这些技术公布于世，并制成百余块漆饰样板，供后人学习参考，极大地影响了中国漆器艺术的发展。先后创造了彩漆漂变、犀皮起皱、藓苔丝、松皮纹等技法。代表作品有《蝴蝶形果盒》、《闪光滚花鳞片瓶》等。　　髹漆自绍安以来，至于芝卿，有进一步发展。创作七宝砂，色纹奇巧，变幻百出，仿古铜、古玉、砖、瓦、陶瓷，无不乱真。早岁游学日本，但其作品富丽堂皇，富有民族风格，与日本所作，逈然不同。出国作品，得世界极高评价，非偶然也。又工画山水、花鸟，精细无匹，墨竹疏疏数笔，雨叶风枝，清劲有力。
弟子评价
据李老弟子回忆，他经常观察自然界气象变化和身边的事物，无论是晨云雾照、黄昏飞霞还是流水波纹、潮花激浪，甚至连屋漏水痕等都不放过。他说这些“皆可为师，皆可入饰”。
我个人认为，李老的“漂漆流彩”并不是纯粹自然现象的翻皈、模仿，而是在对自然运动、变幻规律的启发下，对自然的升华。联系李老技法样板中使用不同方法制成的“水波纹”、“流云纹”“窑变纹”、“飞霞纹”、“漏痕纹”，哪一样不是随心所欲的创造 这创造源自他对漆性得心应手的掌握和娴熟自如的运用。是神奇的造化，燃起了他心中创造的火焰；是漆的魅力，升华了他对自然的情感。他从自然界的运动变幻中，领悟到了“巧夺天工”的漆艺技巧；在漆艺创作实践中，体会到了“朴素天成”的美学价值。南京艺术学院王琥教授对李芝卿先生在中国漆艺术运动中所做出的贡献是这样评价的：李芝卿无疑是福帅l这座漆艺术的重心城市里，涌现出的最突出的一位漆艺术家。他在实践和理论上的一系列创新成就，不但催生了现代漆艺术表现形式的诞生和不断地完善，还使中国漆艺术界具备了与世界先进技术间接交流的可能。李芝卿先生对现代中国漆艺术运动所做出的极其特殊而重大的贡献，将永载史册，惠泽后人。

漆艺技法

李芝卿先生把毕生的精力都奉献给丫我国的漆艺事业，是位极富创新精神的艺术家。后人收集整理李老独特的漆艺技法表现手段，把它归纳为五大类：(--·)“罩漆研磨”，(二)“描漆彩绘”，(三)“仿占堆塑”，(四)“嵌银填彩”，(五)“漂漆流彩”。今天我们重新阐释李老的漆艺技法，无疑对于今天的创作和教学都具有积极的现实意义。
“罩漆研磨”
“罩漆”、“研磨”实际上是漆艺装饰中的两道工序，制作时利用漆刮、滚珠、树叶、画笔等“起纹”工具，沾色漆在中涂漆板上形成高低、厚薄的肌理纹样。由于磨显的程度不同，形成或隐或显，更为丰富的色彩、肌理效果。李老的“磨显的赤宝砂属此类手法制成，其具体制法经历了两个阶段。
原始制法是在中涂漆板上髹道厚漆，均匀地洒上碎荷叶片。碎荷叶翘曲不平，入荫干固后被碎荷叶掩住。由于荷叶的隔绝关系，漆仍未干。这时把荷叶揭除，用煤油洗净未干之漆，遂呈现不规则的凹凸纹样。再用头发丝沾瓦灰全面擦洗，然后髹金底漆、贴银箔、罩红色透明漆，研磨、推光、揩青而成。得到隐在漆层下的自然肌理，它犹如红色的宝石之光彩，称“赤宝砂”(若罩绿色透明漆则为“绿宝砂”)。
原始制法对研磨的要求相当严格和苛刻，因为纹样的肌理效果，完全是依靠漆层下银箔的反射得以呈现。一旦过度，磨穿漆层，水浸入银箔和漆层之间，银箔发生变形，像湿了的纸一样膨胀起来——就只能全部磨掉，重新开始。后来李老对原始制法进行改进。首先，“起纹”方法更加多样，只要能引起凹凸不平的纹样的方法皆可采用；其次，改银箔为银粉，增强了银底与漆面的附着力；最后，采取主动磨显的方法，增强纹样的空间层次感。此时磨显的纹样是最亮的部分，其次是漆层磨得较薄处的纹样，最深的是隐在漆层深处的纹样。在这里，“罩漆”、“研磨”已经不是漆艺中的一道普通的工序，而是主动表现对象艺术效果的重要手段。
“描漆彩绘”
“描漆彩绘”是传统漆画中最常规的表现手法，在楚汉漆艺装饰中被大量使用。一般有先勾勒线条，再平涂色块；以及先平涂色块，再勾勒线条两种方法。“描漆彩绘”的进一步发展，出现了描金绘、漆画绘、描油绘等多种形式。《髹饰录-坤集》中，对此有专门的描述：描金“其文各物备色，粉泽烂然如锦绣。细钩皱理以黑漆，或划理。又有彤质者，先以黑漆描出多为巧”。
漆画“即古昔之文饰，而多是纯色画也。又有施蛋清而如画家所谓没骨者”。描油“既油色绘饰也。其文飞禽、走兽、昆虫、百花．云霞、人物，一一无不备天真之色。”《髹饰录·坤集》特专门辟“斓”、“复饰”、“纹间”对在“描漆彩绘”基础上采用多种装饰综合运用的手法进行了归纳分析。
李老的“描漆彩绘”融入了国画的表现手法。在白推光漆面上(以推光漆加钛自粉细碾后，髹涂中涂漆面，干固后，磨平．推光、擦揩)，以黑漆(黑推光漆加乌烟)当焦墨进行勾勒，干固后，以蓝色漆(推光漆加透明蓝)晕染(用大拇子球弹染)，产生类似国画花青渲染的效果，画面淡雅．古朴。李老常用此法表现山水，后人称之为“彩墨山水”漆画。代表作品有《鼓山万松湾》(1961)、《山溪秋色图》(1954)。由于历史的原因，我们已很难再看到这两幅原作，但李老的“技法样板”中就有“彩墨山水”制法，可窥此画法之原貌：画面上绘耸立的山峰，山腰烟云弥漫，山脚是临水浅坡，左下角画几株松树，枝叶茂盛。全幅皴染兼备、层次分明、笔力遒劲。笔法虽效仿“清初四王”追求法度，但苍笔破墨、定青设色却有独到之处，颇见功力。黄宾虹先生曾评李老的“墨彩山水”日：“古朴清丽，集古人之长，尽趋笔意”。
李老的传统国画山水功底颇深(诚如沈柔坚先生所赞：“用笔细挺、功力甚深、澹岩空灵、别具一格。"，但并未食古不化。在创作中，他非常蓖视“师法自然”，强调写牛，到生活中去引发创作的灵感．到大自然中去收集山水画的素材。无论是南的武夷、福州的鼓山还是仙游的九鲤湖，在他的笔下都有精彩的表现。
如果“彩墨山水”只是李老力图通过绘画性的语言来试图改造传统“描漆彩绘”中过于僵化的程式化模式的话，那么他的《武夷夕照》漆屏风，则让我们看到李老将漆艺特有的语言融人“传统漆画”的探索和努力。
“仿古堆塑”
“仿占堆塑”是指在堆起的纹样表面，进行仿古的装饰，“仿占”手法有仿铜、仿唐三彩、仿玉、仿玛瑙等。它以得模仿对象之风采，又不失漆艺装饰之特色者为停品。而“堆塑”的手法就更加#富，从形式上看有面型平堆．线形堆、浅浮雕、高浮雕等；从材料上看则分漆堆、灰堆，粉堆等。
李老的“仿古堆塑”法在1957年为南京博物馆复制《司母戌大方鼎时一炮走红。其关键性技术是逼真地表现出铜鼎因年代久远，在鼎的表面形成的“铁锈铜斑”。他创造性地以瓦灰作为消光剂，住表面绿漆将干之时，用瓦灰轻刷而去其光泽；再局部敷洒些黄士，以仿青铜因或“埋”或“露”所形成的斑驳锈色；最后，用手指蘸古铜色漆轻抹鼎的局部(鼎表面纹样的最高处，鼎的转折处等)，仿佛这些部位，因观赏者时常以手触摸，而显得特别的光亮。李老一生运用“仿古堆塑”法创作过许多作品，如《当代世界伟人胸像》(1938年)、毛主席浮雕》(1950年)、((打麻雀)(1959年)、《鲁迅浮雕》(1963年)等。李老还将此手法运用F漆画创作，代表作品有《孔子杏增设教图》(1930年)和《海之鹰(1959年)。
漆画《海之鹰表现的是屹立于海崖之上的雄鹰的英姿，背景是浪沫飞溅的大海。李老用粘土塑}I{雄鹰和岩崖，用石膏翻出印锦模；用生漆(70%)、推漆(30%，目的是增加硬度)加白土、壳灰(使之不出油，易干)搅拌，制成印锦料；再用印锦模印出纹样(雄鹰和海崖)，用刀刃薄劈，粘于中涂漆面上。用枯笔蘸瓦灰，画出大海和飞溅的海浪；再通体髹古铜色漆，用瓦灰轻刷一遍，去其表面光泽。最后做局部调整，太亮的部分，用瓦灰消光；需要提亮的部分，用古铜色漆轻抹而成。从这幅作品，可以看出李老漆画创作的大家风范——雄鹰和海崖的塑造粗犷有力、生动自然；背景的海浪处理自由奔放，可称是溶雕塑与绘画为一体的杰作。
“嵌银刻花”
“嵌银刻花”存福州漆艺界的工艺术语叫“台花”，它的雏形是汉代“金银箔片镶嵌”即先在漆面上嵌以金银箔片，然后镂刻纹样。“金银箔片镶嵌”在唐代发展演变为“金银平脱”，即先镶嵌金银片，然后髹漆，干后磨显纹样。它广泛运用于唐代铜镜被面、琴体表面以及车马具的装饰上，由于金银昂贵，在国力衰落的中晚唐的肃宗(李亨)、武宗(李炎)两帝时，明令禁止使用“金银平脱”器，使一度盛行的“金银平脱”逐渐销声匿迹。李老受传统技艺的启发，于民国十九年(1930年)研制出“台花”技法，极大地丰富了福州漆艺的装饰技法。
“台花”技法的工艺，具体有贴箔(关键要使锡箔平整地嵌于漆面上，用骨愀从箔片的中心部分向外平刮，排除多余漆液使之平整)、置稿、刻镂(刻时须将，刀锋微徽向外倾斜，并使刀锋镂穿箔片，剔除多余之锡片)、髹漆、磨显，推光(磨、擦、推，揩)六道工序。艺术效果明亮悦目，与嵌银无异。后人又根据装饰的形式手段，把“台花”技法细分为“台彩”、“台填”、“台银”三大类。
李老“台花”技法的成功实施，关键取决于两项技术性的突破。其一是以锡代银，无论从艺术效果还是操作的可行性(平展性、柔软性)方面，锡箔皆优于银箔。其二是采用鱼胶为粘合剂(用鱼鳔熬煮后以提庄漆及水胶调和而成，三者比例为10%、70%、20%)。它的优点是与金属粘合的效果极佳，是传统木工艺的粘合剂。它相对于生漆慢干，且干固后又十分牢固。保证了贴上锡箔，入刀镂刻时，锡箔不会随刀的运行而移动，影响操作；并能利用其慢干的性能，顺利地剔去多余的锡箔。而生漆与金属粘合的性能不佳，漆不千时，入刀镂刻，刀行箔随，无法操作；一旦干固，根本无法入刀镂刻，更不用说剔除多余的银箔了。
李老所制的“台花”漆器，后经“沈绍安兰记”的推广，逐渐成为福州漆艺的品牌产品。
“漂漆流彩”
“漂漆流彩”是指在漆液中加入汽油或樟脑油之类的稀释剂，让其色在漆面上自然漂流，形成纹样。是李老在继承传统“彰髹”方法的基础上，吸收日本“变涂”技术而形成的一种新的表现手法。由于以此手法制成的纹样有一定的“偶然性”、“不可预知性”，所以其效果往往“人天参半，妙趣天戍”。
李老最初使用此手法是为了在漆器表面仿制陶瓷的“窑变”效果。具体做法是：取两色推光漆加入汽油等稀释剂制戍漂流漆，先在漆面上髹涂一色推光漆，接着马上刷上另一色漂流漆，再采用“漂漏”、“刷丝”、“抽刮”、“点散”等工艺手法，使漆色形成自由流动、互相渗化的效果，然后入荫干固后，磨显而成。李老的漆画《武夷夕照》中的水纹就是采用“漂漆流彩”手法表现的。?

Li Zhiqing (1894-1976) , fujian Fuzhou person, our country's famous lacquer artist. He year of attend school at " Fujian craft passes place of be used to " Qi Yi division, master from former Tian Hemin of Japanese Qi Yi's Great Master Ji Qingting drive is versed in Lin Hong is added. This century 20 time, he invites in what Yuan Tianxian is born and aid financially, take the sea-voyage eastward help up mulberry, take advanced courses to schools of Nagasaki painting technology, learned Japanese lacquer] systematically: The expressional ability law of Zhi = . After going back to the motherland, he devotes oneself to the exploration of character of French of lacquer craft ability to innovate. He acts the role of the foundation of craft to go up in grain of traditional Qi Yi, absorb Japanese Qi Yi towel " change besmear " . "Transplant draw " wait for Xiu to act the role of ability law, creativity land development formed a distinctive ability law to behave a method. And apply its successfully carry out foliaceous L to lacquer painting, created work of China's earliest lacquer painting of a batch of apriority. Be known as " the person lay a foundation of Chinese contemporary lacquer painting " .
He facilitated actively still of school of Fuzhou arts and crafts hold water, foster successor for career of arts and crafts, hold the position of school Qi Yi's teacher personally. He needs for education, arrange " Fuzhou lacquer makes technology " one, to popularizing lacquering art technology, normative Qi Yi behaves a language, have important sense. Especially he is during job of institute of Fuzhou arts and crafts, the Qi Yi Xiu that oneself T masters for years acts the role of ability legal system to become model of law of about a hundred ability, offer later generations study and reference. These precious example are right character of French of rich China Qi Yi ability produced far-reaching effect, remain the intuitionistic teaching material of Chinese Qi Yi education up to now.
Study law of ability of lacquer of Chinese traditional Xiu deep, japanese tradition draw of lacquer art transplant changes photograph of law of lacquer art ability combines the ability law such as besmear and Chinese tradition, innovation gives a variety of new Xiu lacquer technology. Come more than 60 years he created a lot of elegant work, be collected by museum of country of China and foreign countries. 20 centuries 50 time he announces these technologies at the world, make more than 100 lacquer act the role of example, learn reference for later generations, affected the development of Chinese lacquer art greatly. Created colour Qi Piao to change early or late, rhinoceros skin is silk of liver mosses of corrugate, moss, loose the ability law such as Pi Wen. Have on behalf of work " box of butterfly form fruit " , " bottle of flashy scale rolling a flower " etc. Since Xiu Qi Zishao is installed, as to Zhi dear, have further progress. Create 7 treasure arenaceous, lubricious grain ingenious, fluctuate 100, archaize copper, Gu Yu, brick, made of baked clay, pottery and porcelain, look genuine of all without exception. Early year old swim learn Japan, but its work is gorgeous, be full of ethical style, make with Japanese place, Zuo differs like that. Work going abroad, the world evaluates extremely high, blame is accidental also. Be versed in again picture landscape, painting of flowers and birds in traditional Chinese style, careful and unparalleled, pen of scanty number of Chinese ink Zhu Shu, branch of pluvial leaf wind, qing Jin is strong.
Child evaluation
According to Li Laodi child memory, he often watchs nature weather variation and the thing beside, no matter be morning cloud and mist is illuminated, dusk flying glow or running water ripple, wet beautiful bore, connect house even slack mark do not let off. He says these " all can be division, all can enter adorn " .
My individual thinks, plum old " bleach Qi Liu colour " not be dinkum and natural phenomenon turn over Gui, imitate, it is however below the inspiration of rule of pair of natural movement, irregular change, to natural sublimate. Connection plum uses different honest legal system to become in example of old ability law " water is moire " , " shed Yun Wen " " kiln changes grain " , " flying Xia Wen " , " leakage mark grain " , which are follow one's inclinations creation euqally? This creation comes from him to lacquer sex the control of handy is mixed of adept freely apply. It is magical good luck, lighted the blaze that creates in his heart; It is the glamour of lacquer, sublimate his affection to nature. In his athletic irregular change from nature, comprehended " wonderful artical excelling nature " Qi Yi skill; In practice of Qi Yi creation, experience arrived " simple day is become " aesthetic value. King of Nanjing artistic institute Professor Hu is in makes contribution is such evaluations to Mr Li Zhiqing in motion of Chinese lacquer art: Li Zhiqing is Fu Shuai L undoubtedly in the core city of this lacquer art, a the most outstanding lacquer artist that emerge in large numbers gives. He is accomplished with a series of theoretic innovation in practice, not only ecbolic contemporary lacquer art behaves a form be born and perfect ceaselessly, still make group of Chinese lacquer art had the possibility that communicates secondhand with world advanced technique. Mr Li Zhiqing moves to art of contemporary China lacquer makes extremely special and significant contribution, always will carry annals, benefit lustre later generations.

Law of lacquer art ability

Mr Li Zhiqing dedicates lifetime energy to the Qi Yi career of bifurcation our country, it is an artist of spirit of extremely rich innovation. Later generations is collected arrange law of Li Laodu's special Qi Yi ability to behave a method, its reduce 5 kinds big: its reduce 5 kinds big:: - - · ) " cover lacquer is abrade " , (2) " draw lacquer coloured drawing or pattern " , (3) " copy occupies caboodle model " , (4) " embed silver to fill colour " , (5) " bleach Qi Liu colour " . We are new today the law of Qi Yi ability with illuminate old plum, have active real sense to today's creation and education undoubtedly.
"Cover lacquer is abrade "
"Cover lacquer " , " abrade " it is two working procedure in Qi Yi adornment actually, lacquer is used to blow when making, ball, leaf, paintbrush " have grain " tool, touch lubricious Qi Zaizhong the kind of grain skinning texture that on any account, thickness forms on lacquer board. Because grind the rate that show to differ, form or concealed or show, more rich color, effect skinning texture. Plum old " grind the bare Bao Sha that show to belong to legal system of this kind of hand to become, its provided system way to experience two level.
Primitive making a way is to be in in paste paint of path of the Xiu on lacquer board, even ground is aspersed on lamina of broken carry on one's shoulder. Warp of broken lotus leaf is rough, into shade be stayed in by attack by surprise of broken lotus leaf after dry solid. Because the isolation of lotus leaf concerns, lacquer still did not work. Uncover lotus leaf at this moment except, with kerosene abluent not dry lacquer, present sample of irregular concave and convex grain then. Reoccupy hair silk touchs made of baked clay ash to be swabbed in the round, next Xiu gold priming paint, stick colored varnish of red of silver foil, cover, abrade, turn light, wipe blueness and become. The nature that gets concealed falls in lacquer layer skins texture, it is just as gules lapidary glorious, say " bare treasure is arenaceous " (if overspread green colored varnish,be " green Bao Sha " ) .
Primitive make a law be mixed quite strictly to abrade requirement slashing, because of the effect skinning texture of grain appearance, the reflex that is the silver foil below support lacquer layer completely is able to appear. Once excessive, wear the layer that wear paint, between water immerge silver foil and lacquer layer, silver foil happening is out of shape, expand like soppy paper rise -- can grind entirely only, begin afresh. Later plum often be opposite primitive make a law undertake improvement. Above all, "Have grain " the method is more diversiform, the method that wants to be able to cause uneven grain pattern only all can be used; Next, change silver foil to be silver-colored pink, enhanced the adherent power of silver-colored bottom and lacquer face; Finally, adopt grind the method that show actively, enhance the sense of dimensional administrative levels of grain appearance. Grinding the grain pattern that show right now is the brightest part, it is lacquer layer wears the grain kind that gets smaller part next, the deepest is the grain appearance that concealed is in lacquer layer. Here, "Cover lacquer " , " abrade " not be one of Qi Yi common working procedure any more, behave the important step of object art effect actively however.
"Draw lacquer coloured drawing or pattern "
"Draw lacquer coloured drawing or pattern " it is the grooviest expression gimmick in traditional lacquer painting, in Chuhan be used in great quantities in Qi Yi adornment. Have commonly draw the outline of line first, make the same score Tu Se piece again; And make the same score Tu Se piece first, draw the outline of line again two kinds of methods. "Draw lacquer coloured drawing or pattern " further progress, appeared a variety of forms such as draw of trace a design in gold, lacquer painting draw, draw oily draw. " Xiu act the role ofing is recorded - female collect " in, have special description to this: Trace a design in gold " its article color of each content equipment, powdery lustre is sodden be like samite like that. Fine hook knits manage with black lacquer, or delimit manage. Have the person that red pledges again, go out to be more with black Qi Miao first artful " .
Lacquer painting " namely ancient Xi Zhiwen is acted the role of, is pure lubricious picture more also. Have the person that use egg white and do not have bone again " . Draw is oily " already oily lubricious draw is acted the role of also. Its article fowl, beasts, insect, 100 flowers. Rosy clouds, character, do not have unprepared and innocent color one by one. " " Xiu act the role ofing records · female part " especially special monarch " Lan " , " answer adorn " , " between grain " to be in " draw lacquer coloured drawing or pattern " the technique that a variety of adornment use to be applied integratedly on the foundation undertook inducing analytic.
Plum old " draw lacquer coloured drawing or pattern " the expressional gimmick that blended in traditional Chinese painting. Go up in face of the white lacquer that turn light (in order to push smooth Qi Jiatai from pink fine after grinding, face of the lacquer in Xiu besmear, after dry solid, grind smooth. Turn light, brush wipe) , with black lacquer (smoke of black of the black Qi Jia that turn light) undertake drawing the outline of when Jiao Mo, after dry solid, with blue lacquer (the Qi Jia that turn light is transparent blue) dizzy catch (with big Mu child the ball is played catch) , produce the result of apply colours to a drawing of cyanine of similar traditional Chinese painting, picture quietly elegant. Of primitive simplicity. Li Laochang behaves landscape with this law, later generations says for " landscape of colour Chinese ink " lacquer painting. Have on behalf of work " rouse Shan Mosong bay " (1961) , " Shan Xiqiu color pursues " (1954) . As a result of historical reason, we see these two original work very hard already again, but plum old " ability law example " in have " landscape of colour Chinese ink " make a way, can peep the former appearance of this brushwork: The mountain peak that the draw on the picture towers aloft, cloud of smoke of half way up the mountain diffuses, the foot of a hill is to face water shallow slope, different picture playing role pine of a few individual plant, branches and leaves is flourish. Complete chapped is caught have both, powerful of distinct, style of writing or drawing. Calligraphy or drawing although follow the lead of " the 4 king at the beginning of Qing Dynasty " pursuit law, but the broken Chinese ink of dark green pen, fill in colors on a sketch that decide blueness has original place however, see work force quite. Ceng Ping of Mr Huang Binhong plum old " Mo Caishan water " day: "Qing Li of of primitive simplicity, the length of collect the ancients, meaning of the pen that use up hasten " .
Plum strength of old landscape of traditional traditional Chinese painting is quite late (sincere assist of place of is like Shenyang Mr Roujian: "With the pen fine hold out, work force empty spirit of cliff of very deep, Dan, having a unique style. ", but not pedantic. In creation, he special Bi is inspected " imitate is natural " , emphasize writing an ox, go causing the inspiration of creation in the life. Go collecting the material of the landscape painting in nature. The 9 carp lake that no matter be the beat of the Wu Yi south, Fuzhou,hill or celestial being swim, there is wonderful show in his the wording and purpose of what one writes.
If " landscape of colour Chinese ink " just the language that Li Laoli graph adopts painterly sex will try to transform a tradition " draw lacquer coloured drawing or pattern " in too if the form of become rigid changes pattern, so his " Wu Yi afterglow " lacquer screen, let us see plum person of veteran Qi Yi's peculiar language be in harmony " traditional lacquer painting " exploration and effort.
"Archaize piles model "
"Copy occupies caboodle model " it is to point to the grain shape face in pile, undertake the adornment of archaize, "Copy is occupied " gimmick has agate of jade of tri-colored glazed pottery of the Tang Dynasty of copy copper, copy, copy, copy to wait. It imitates the elegant demeanour of the object with getting, the person that do not miss the distinguishing feature that Qi Yi decorates again is tasted to stop. And " caboodle model " gimmick more # is rich, look from formally have face smooth lot. Line form caboodle, bas-relief, high relief; See a caboodle that divide lacquer, grey lot from material, powdery caboodle.
Plum old " archaize piles model " the law duplicated for Nanjing museum 1957 " the one artillery piece when experting vessel of department Mu Qu has his moment. Its are decisive the technology is to because time is ages ago,show cupreous vessel realistically, form in the surface of the vessel " ferruginous copper spot " . His creativity the ground serves as dulling agent with made of baked clay ash, live when exterior green lacquer will be dry, the ash that use watt is brushed gently and go its burnish; Again local apply asperses some of Huang Shi, with copy bronze because or " bury " or " dew " forms mottled rust is lubricious; Finally, dip in with finger what bronze-coloured lacquer wipes a vessel gently is local (the top part of appearance of vessel surface grain, the) such as the turn place of the vessel, as if these place, because view and admire person feel with the hand constantly, and the brightness that appears special. Li Laoyi is unripe apply " archaize piles model " the law has created a lot of work, be like " bust of contemporary world great man " (1938) , Chairman Mao anaglyph " (1950) , ((hit spadger) (1959) , " Lu Xun anaglyph " (1963) etc. Plum still often use this technique creative work of F lacquer painting, have on behalf of work " Confucius apricot is added teach a graph " (1930) and " Hai Zhiying (1959) .
Lacquer painting " the heroic bearing that what Hai Zhiying behaves is the lanneret over stand erect Yu Haiya, setting is the sea that billow foam splatters. Plum often use cliff of He Yan of lanneret of argillaceous model}I{, turn over a Yin Jinmo with gesso; With raw lacquer (70%) , push lacquer (30% , the purpose is to increase hardness) add ash of Bai Tu, carapace (make do not give oil, yi Gan) agitate, make Cheng Yinjin expect; Imprint with Yin Jinmo again appearance giving grain (lanneret and Hai Ya) , with edge thin break off, stick at in on lacquer face. Dip in with withered pen made of baked clay ash, the picture gives the sea and splattering ocean wave; Connect body Xiu bronze-coloured lacquer again, the ash that use watt is brushed gently, go its surface burnish. Do finally local adjust, too bright part, with light of made of baked clay grey disappear; Need carries bright share, be wiped gently with bronze-coloured lacquer and become. From this work, the authority that can see Li Laoqi draws creation wind model -- of lanneret and Hai Ya model straightforward and strong, dramatic nature; The freedom of ocean wave processing of setting is bold and unrestrained, can saying is the classic that dissolve sculpture and brushwork are an organic whole.
"Embed silver-colored engraved designs "
"The engraved designs that embed silver " the craft term that puts group of Fuzhou Qi Yi cries " the stage is beautiful " , its rudiment is Chinese generation " bullion foil piece enchase " embed on preexistence lacquer face namely with bullion foil piece, next carve grain appearance. "Bullion foil piece enchase " in Tang Dynasty development evolves for " bullion is made the same score " , enchase golden silver strip first namely, next Xiu lacquer, the kind that show grain is worn after working. On the adornment that it applies appearance of substance of bedcover of Yu Tang acting bronze mirror, musical instrument and car harness extensively, because bullion is costly, in national power be on the wane in the respectful of evening the Tang Dynasty ancestor (Li Heng) , Wu Zong (Li Yan) when two emperor, public proclamation taboo " bullion is made the same score " implement, make for a time of be current " bullion is made the same score " disappear from the scene gradually. Plum the inspiration that often suffers traditional craft, at the Republic of China 19 years (1930) development goes " the stage is beautiful " ability law, abounded the adornment ability law of Fuzhou Qi Yi greatly.
"The stage is spent " the craft of ability law, specific have stick foil (the key should make level land embeds tinfoil paper to go up at lacquer face, the Qiao that use character from foil piece central part is made the same score outwards blow, the level that eliminates redundant lacquer fluid to make) , buy draft, quarter engrave (the beard when engraving will, blade small badge tilts outwards, make blade engrave wears foil piece, the tin with surplus eliminate piece) , Xiu lacquer, grind show, turn light (grind, brush, push, wipe) 6 working procedure. Artistic effect is bright and pleasing to the eye, with the as good as that embed silver. Later generations according to illuminative form method, " the stage is beautiful " ability law fractionize is " stage colour " , " the stage is filled " , " the stage is silver-colored " 3 kinds big.
Plum old " the stage is beautiful " the success of ability law is carried out, the key depends on two technical breakthroughs. It is firstly with Xi Daiyin, no matter return the feasibility that is an operation from artistic effect (sex of open and flat, plasticity) respect, tinfoil paper all excel silver foil. It is to use isinglass to be adhesive secondly (after using swimming bladder infusion, with promoting a place of business Qi Jishui glue mediates and become, 3 person scale is 10% , 70% , 20%) . Its advantage is as admirable as the effect of metallic agglutinate, it is the adhesive of traditional woodworking. It works slow to raw lacquer, and after dry solid very firm. Assured to affix tinfoil paper, when the carve that enter a knife, tinfoil paper won't follow a knife move and move, influence operation; Can use the property that its do slow, smoothly get rid of goes redundant tinfoil paper. And the function of raw lacquer and metallic agglutinate not beautiful, lacquer not 1000 when, enter knife carve, knife travel foil is followed, cannot operate; Once do firm, cannot enter knife carve at all, the silver foil with redundant eliminate of prep let alone.
Plum what often make " the stage is spent " lacquer, hind classics " Shaoanlan writes down Shenyang " promotion, make the brand product of Fuzhou Qi Yi gradually.
"Bleach lacquer to spread cheer "
"Bleach lacquer to spread cheer " it is to point to the thinner that joins benzine or camphor oily and so on in lacquer fluid, make its lubricious drift naturally on lacquer face, form grain kind. Be plum often be in successive tradition " clear Xiu " on methodological foundation, absorb Japan " change besmear " technology and a kind of when form new expression technique. It is certain to have as a result of the grain kind that becomes with this hand legal system " contingency " , " unpredictable sex " , so its effect often " person day half, defend of fine interesting day " .
Plum often using this technique at first is to be modelled on in lacquer surface of pottery and porcelain " kiln changes " the effect. Particular way is: Take the dichromatic Qi Jia that turn light to make defend float paint into the thinner such as benzine, color of Tu Yi of the Xiu on preexistence lacquer face pushs smooth lacquer, brush on another kind of seaborne paint immediately then, use again " bleach leakage " , " brush silk " , " smoke blow " , " the dot comes loose " wait for craft gimmick, make Qi Se forms the result that free flow, mutual ooze turns, enter next shade after dry solid, grind show and become. Plum old lacquer painting " Wu Yi afterglow " medium Shui Wen is used namely " bleach Qi Liu colour " gimmick behaves. ?