中国漆器造型艺术历史悠久,精湛绝与伦比,堪称东方之最,世界之最。无论是“髹”或是“饰”,既有深奥的理论,又有严谨的实践。《髹饰录》就是它的总结,这是我国当今唯一能见到的古代漆文化专著,虽然在《宋史·艺文志》提及五代时有朱遵度著《漆经》的记载,惜乎早已失传。明代天启乙丑年(1625)杨明(清仲)在《髹饰录·序》中曾经用过“千文万华,纷然不可胜识”的语句来称誉中国漆文化发展的成就。的确是这样,但其奥秘何在呢?看来要回答这个问题非常不容易,也不是三言两语就能讲得清的,不过认真读一读坤集《煸斓第十二》、《复饰第十三》、《纹间第十四》这三 Chinese lacquer modeling art has a long history, superb incomparable, 堪称 East most, the most in the world. Whether it is “髹” or “decoration”, both esoteric theory and rigorous practice. It is the summary of the ancient Chinese lacquer culture that we can see today in our country. Although there is a record of the “lacquer” by Zhu Zunzhi when referring to the Five Dynasties in “Song Shi Yi Wen Zhi”, it is almost lost . Ming dynasty benevolent years (1625) Yang Ming (Qingzhong) in the “髹Edit recorded sequence” had been used “Thousands of thousands of thousands of Chinese, Unprecedented,” the phrase to praise the achievements of the development of Chinese lacquer culture. This is indeed the case, but what is the secret? It seems very difficult to answer this question, nor can it be made clear in a few words, but read carefully Kun set “Twelve twins”, “ Three ”,“ fourteenth ”three