从距今约7000年的河姆渡时期开始,漆就因其温和敦厚的属性和美丽的光泽而被赋予了实用和审美的双重功能。就如京剧、国画和中医是“国粹”一样,大漆往往被称为“国漆”。虽说漆器也曾从秦汉的“无器不髹”到明清沦为王侯将相的宫廷艺术,好在清代开始,具有独特民族风格和浓厚地方特色的福州脱胎漆器为中国漆器带来了一阵清风,其亦与北京景泰蓝、江西景德镇瓷器并称为中国传统工艺“三宝”。而在福州脱胎漆器中,又以古朴典雅的脱胎漆器茶具最为引人注目。 From the Hemudu period of about 7,000 years ago, lacquer has been given both practical and aesthetic duality due to its gentle nature and beautiful luster. Just as Beijing Opera, traditional Chinese medicine and traditional Chinese medicine are the “national essence”, the lacquer often is called “Guoqi”. Although lacquerware was once also used from the Qin and Han Dynasties to the court art of the princely gentry in the Ming and Qing dynasties, Fuzhou bodiless lacquer ware, which has unique national style and rich local features, was brought to the Chinese lacquerware For a while breeze, it also with Beijing Cloisonne, Jingdezhen, Jiangxi porcelain and called the traditional Chinese crafts “Sambo ”. In Fuzhou bodiless lacquerware, but also simple and elegant bodiless lacquer tea most striking.