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有关宣德朝官造漆器,从文献到实物历来都存在着相互矛盾的现象,使得宣德漆器显得尤为复杂和难解,在漆器研究领域中一直存在着争议。笔者依托故宫丰富的藏品,借助国内外博物馆的出版物和社会上流传的实物,对宣德漆器进行了较为深入的研究。最后经过排比鉴别,在剔出各种伪款伪器之后,确认出真款真器。并通过对文献及实物的分析,得出宣德朝漆器制造,不仅有着早与晚的分期,而且还是明代宫廷漆器制造的转折期。这一转折既有艺术风格上的变化,也有由盛至衰的变化,这应该就是宣德朝官造漆器的真貌。
Xuande lacquer ware has historically existed contradictory phenomena from the literature to the real one, making Xuande lacquer more complicated and difficult to resolve. There has been a dispute in the field of lacquer research. Based on the rich collection of the Forbidden City, with the publication of museums both at home and abroad and the real objects circulating in the society, the author conducted a more in-depth study of Xuande lacquerware. Finally, after the row than the identification, in the exclusion of various counterfeit pseudo-pseudo-device, to confirm the real device. And through the literature and in-kind analysis, it is concluded that the Xuande Dynasty lacquerware manufacturing not only has the phases of early and late, but also the turning point of the Ming court lacquer manufacture. This turning point is both a change in artistic style and a change from prosperity to decline. This should be the true appearance of the Xuande dynasty lacquer ware.