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甌塑是流传于温州市的一种传统塑作艺术，由中国古代的堆漆工艺发展演变而来，俗称彩色油泥塑，1959年，温州市人民政府命名该项工艺为“瓯塑”，是温州独有的民间艺术。
两宋时期，温州曾是传统漆艺的重镇，用天然生漆和碾成粉末的砖瓦粉泥合成为原料，运用堆塑技艺的手法塑形，俗称为“堆起门”，广泛应用于庙宇、民居、家具及嫁妆等的装饰。明清以后，堆漆工艺在温州得到较大发展，形成了“隐起措金”“隐起措漆”“隐起措”三个堆漆工艺品种，具体说就是在堆漆的基础上贴金、髹色漆、髹色油。近代以来，温州民间工匠借鉴古代堆漆技艺，在技艺和材料等方面作了许多改进，用黄泥拌熟桐油、高岭土伴熟桐油和各色颜料做成有色油泥为基本材料塑形，形成别具特色的瓯塑工艺。
瓯塑工艺技法繁多，创作主要有创意设计、配料、拷贝、上底漆、配色、堆起、装饰、上光等工序。工艺上综合运用了浮雕工艺的“纳光纳阴”法，堆塑工艺的砑蹄法、骨挑法、刀具法、填嵌法、手指法，漆器装饰的描金、描油、镶嵌、贴金等技法，比之堆漆工艺，表现力上更加灵活多变，以浅浮雕式塑形为主，可圆雕式塑形，也可以浮雕式塑形，题材广泛，凡笔墨所能表达的画面，均能运用瓯塑技艺来表达和塑形，作品具色彩丰富艳丽、磅礴大气、立体画面如真实的山水风光等特点，被誉为“立体的油画”“中国式的油画”。
瓯塑与黄杨木雕、东阳木雕和青田石雕并称“浙江三雕一塑”。瓯塑是浙江省政府认定的首批“浙江传统优秀工艺美术品类”之一，2006年列入第一批浙江省非物质文化遗产名录，2008年列入第二批国家级非物质文化遗产名录。2018年12月，被公布为第一批浙江省传统工艺振兴目录项目。
优秀的瓯塑文化需要传承，更需要顺应当代市场的需求。瓯塑常作为装饰点缀于嫁妆、家具之上，工艺美术大师周锦云花费了二十余载的努力打破藩篱，将瓯塑发展成为西方油画一般的壁挂，将瓯塑带进了展示艺术品的领域之中。在瓯塑创新之路上，周锦云不断探索，成功研制了沥粉壁画、盘塑壁画、立式模型瓯塑、仿古铜、仿古汉白玉、仿锡雕等十个瓯塑工艺新品种。随后，周锦云致力于把瓯塑与建筑壁画、环境艺术相结合，均取得了显著成绩。他的作品《西湖天下景》曾被中国美院的邓白教授称赞为“真正达到雅俗共赏的境界”。其代表作品还有《雁荡山图》《半山胜景》《八仙的传说》等。
（感谢浙江省非物质文化遗产保护中心和温州市非物质文化遗产保护中心为本栏目提供支持）
A New Artistic Endeavor for Wenzhou Ousu （Wenzhou Clay Sculpture）
Wenzhou Ousu， or Wenzhou Clay Sculpture， is a folk art long practiced in Zhejiang’s Wenzhou area， an important manufacturing center of lacquerware during the Northern Song （960-1127） and Southern Song （1127-1279） dynasties. Evolved from a traditional Chinese lacquering craft called “duiqi” or embossed lacquer， it has widely been used in decorations for temples， residential houses and dowries. During Ming （1368-1644） and Qing （1616-1911） times， embossed lacquer further developed into three more distinct varieties， i.e. plating gold as well as red and black lacquer paint and oil on top of the original surface. With the improvement of lacquering materials and techniques， the artistic expression of Ousu has been further enhanced in modern times.
While Ousu works and products have long been used as decorative pieces for dowries and furniture， Zhou Jinyun， an accomplished Ousu master， broke out of the confines and developed Ousu into an art form similar to oil paintings in the past two decades. In the process， Zhou Jinyun refined his craft and created ten new varieties of Ousu， including embossed mural paintings， 3D Ousu， and imitation white jade， among others. Over the years， Zhou has been committed to integrating Ousu with frescos and environmental art， and his efforts have been widely lauded.
More recently， Zhou Jinyun has turned his focus to marketing Ousu culture and expanding the accompanying creative and cultural industries， for any traditional craft and folk art need to be passed down and， more importantly， meet the current market demand. Thanks to Zhou and masters like him， Wenzhou Ousu and a number of other traditional crafts are now both artistically vibrant and commercially viable.
两宋时期，温州曾是传统漆艺的重镇，用天然生漆和碾成粉末的砖瓦粉泥合成为原料，运用堆塑技艺的手法塑形，俗称为“堆起门”，广泛应用于庙宇、民居、家具及嫁妆等的装饰。明清以后，堆漆工艺在温州得到较大发展，形成了“隐起措金”“隐起措漆”“隐起措”三个堆漆工艺品种，具体说就是在堆漆的基础上贴金、髹色漆、髹色油。近代以来，温州民间工匠借鉴古代堆漆技艺，在技艺和材料等方面作了许多改进，用黄泥拌熟桐油、高岭土伴熟桐油和各色颜料做成有色油泥为基本材料塑形，形成别具特色的瓯塑工艺。
瓯塑工艺技法繁多，创作主要有创意设计、配料、拷贝、上底漆、配色、堆起、装饰、上光等工序。工艺上综合运用了浮雕工艺的“纳光纳阴”法，堆塑工艺的砑蹄法、骨挑法、刀具法、填嵌法、手指法，漆器装饰的描金、描油、镶嵌、贴金等技法，比之堆漆工艺，表现力上更加灵活多变，以浅浮雕式塑形为主，可圆雕式塑形，也可以浮雕式塑形，题材广泛，凡笔墨所能表达的画面，均能运用瓯塑技艺来表达和塑形，作品具色彩丰富艳丽、磅礴大气、立体画面如真实的山水风光等特点，被誉为“立体的油画”“中国式的油画”。
瓯塑与黄杨木雕、东阳木雕和青田石雕并称“浙江三雕一塑”。瓯塑是浙江省政府认定的首批“浙江传统优秀工艺美术品类”之一，2006年列入第一批浙江省非物质文化遗产名录，2008年列入第二批国家级非物质文化遗产名录。2018年12月，被公布为第一批浙江省传统工艺振兴目录项目。
优秀的瓯塑文化需要传承，更需要顺应当代市场的需求。瓯塑常作为装饰点缀于嫁妆、家具之上，工艺美术大师周锦云花费了二十余载的努力打破藩篱，将瓯塑发展成为西方油画一般的壁挂，将瓯塑带进了展示艺术品的领域之中。在瓯塑创新之路上，周锦云不断探索，成功研制了沥粉壁画、盘塑壁画、立式模型瓯塑、仿古铜、仿古汉白玉、仿锡雕等十个瓯塑工艺新品种。随后，周锦云致力于把瓯塑与建筑壁画、环境艺术相结合，均取得了显著成绩。他的作品《西湖天下景》曾被中国美院的邓白教授称赞为“真正达到雅俗共赏的境界”。其代表作品还有《雁荡山图》《半山胜景》《八仙的传说》等。
（感谢浙江省非物质文化遗产保护中心和温州市非物质文化遗产保护中心为本栏目提供支持）
A New Artistic Endeavor for Wenzhou Ousu （Wenzhou Clay Sculpture）
Wenzhou Ousu， or Wenzhou Clay Sculpture， is a folk art long practiced in Zhejiang’s Wenzhou area， an important manufacturing center of lacquerware during the Northern Song （960-1127） and Southern Song （1127-1279） dynasties. Evolved from a traditional Chinese lacquering craft called “duiqi” or embossed lacquer， it has widely been used in decorations for temples， residential houses and dowries. During Ming （1368-1644） and Qing （1616-1911） times， embossed lacquer further developed into three more distinct varieties， i.e. plating gold as well as red and black lacquer paint and oil on top of the original surface. With the improvement of lacquering materials and techniques， the artistic expression of Ousu has been further enhanced in modern times.
While Ousu works and products have long been used as decorative pieces for dowries and furniture， Zhou Jinyun， an accomplished Ousu master， broke out of the confines and developed Ousu into an art form similar to oil paintings in the past two decades. In the process， Zhou Jinyun refined his craft and created ten new varieties of Ousu， including embossed mural paintings， 3D Ousu， and imitation white jade， among others. Over the years， Zhou has been committed to integrating Ousu with frescos and environmental art， and his efforts have been widely lauded.
More recently， Zhou Jinyun has turned his focus to marketing Ousu culture and expanding the accompanying creative and cultural industries， for any traditional craft and folk art need to be passed down and， more importantly， meet the current market demand. Thanks to Zhou and masters like him， Wenzhou Ousu and a number of other traditional crafts are now both artistically vibrant and commercially viable.