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清朝是中国历史上最后一个封建王朝,是由满族建立的统一的多民族国家。清朝漆器的生产和应用较明朝有了进一步提高,特别是乾隆年间,漆器的生产达到历史最高峰,取得了辉煌成就。沈阳故宫博物院珍藏了大量清代漆器,多为宫廷用器,其中有许多器物具有明显的藏传佛教风格。本文从清代宫廷藏传佛教入手,简要介绍清代宫廷漆器的特征与分期,以沈阳故宫院藏佛教风格漆器为依托,见证西藏与内地文化的交流。
The Qing Dynasty was the last feudal dynasty in Chinese history and was a united multi-ethnic nation established by the Manchus. The production and application of lacquerware in the Qing Dynasty went further than the Ming Dynasty, especially during Qianlong’s time. The production of lacquer ware reached its historical peak and achieved brilliant achievements. Shenyang Imperial Palace Museum collection of a large number of Qing Dynasty lacquer ware, mostly for court use, many of which have obvious Tibetan Buddhist style. This article begins with the Qing court Tibetan Buddhism, briefly introduces the characteristics and staging of the court lacquer in the Qing Dynasty, relies on the lacquered Buddhist style lacquer ware in the courtyard of the Shenyang Imperial Palace, and witnesses the exchange of culture between Tibet and the Mainland.