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在中华民族五千年的历史长河中,积淀了深厚的民族文化底蕴与民族文化素养,衍生了异彩纷呈的民间艺术瑰宝。凝聚东晋雕塑家、画家戴逵智慧和心血的干漆夹苎工艺,让白马寺的镇寺之宝——千年古佛熠熠生辉;使故宫博物院的镇馆木雕——“千手观世音”风采依旧;更让“东渡”的干漆夹苎鉴真坐像成为中日外交史诗!“干漆夹苎做外衣,千年佛像留神韵”成了佛像雕塑史上的千古绝唱!天台山佛宗道源,人杰地灵,干漆夹苎工艺作为天台山独有的民间手工艺术,凭借绝伦的技艺使得佛像穿越千年时空而神韵犹存。隋唐至今,历经几次沉浮,干漆夹苎终得发扬传承。由于干漆夹苎工艺难度大,对工匠技术要求较高,学艺周期长,再加上历史中匮乏关于该工艺的记载,只能依靠口传身教,因此面临着后继乏人的窘境。人们对这一工艺的保护与发展义不容辞。
In the 5,000-year history of the Chinese nation, it has accumulated profound national culture and national cultural accomplishments, and has spawned a colorful folk art treasures. Cohesion of Eastern Jin Dynasty sculptor, painter wearing wisdom and painstaking dry paint clip razor craft, so that the Temple of the White Horse Temple - a thousand years ancient shining; so that the National Palace Museum Museum of wood - “Avalokitesvara ”The style is still; more “ East to ”dry lacquer mirror sit like a diplomacy of Sino-Japanese diplomatic epic! “ Dry paint clip ramie coat, thousands of Buddha statues stay charm ”has become the eternal sculpture in the history of Buddha statues! Tiantai Mountain Buddhism source, old times, dry lacquer clip craft Tiantai as a unique folk arts and crafts, with exquisite art makes the Buddha through the Millennium space and charm still exist. Sui and Tang dynasties so far, after several ups and downs, dry lacquer clip rattan eventually spread inheritance. Due to the difficulty of dry lacquer razor craft, higher technical requirements for artisans, long learning cycle, and lack of historical records about the craft, they can only rely on oral traditions and therefore face the dilemma of successors. People’s protection and development of this process are not obscene.