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1、如有侵权，请联系网站删除，仅供学习与交流广东省博物馆木雕展馆英文讲解词【精品文档】第 98 页漆木精华潮州木雕艺术展览Beauty Is Gilt WoodChaozhou Woodcarving Art Exhibition前 言Introduction第一部分 源流篇History第一单元 发展期 1. Initiation第二单元 成熟期2. Maturation第三单元 兴盛期3. Prosperity第四单元 衰退期4. Declination第五单元 复兴期5. Rerising第二部分 制作篇Craftsmanship第一单元 材料1.Materials第二单元 工具2.Tool
2、s第三单元 雕刻技法3.Carving Techniques第一组 沉雕1)Intaglio第二组 浮雕2)Relief第三组 圆雕Altorelievo第四组 通雕Openwork第四单元 制作工序4.Work Process第一组 整料1)Material preparation第二组 起草图2)Drafting第三组 上草图3)Printing第四组 凿粗坯4)Printing第五组 细雕刻5)Fine carving第六组 髹漆贴金6)Coating第三部分 艺术篇Art第一单元 丰富多彩的题材内容1. Variety of Themes第一组 人物类1）Human Figures第二
3、组 自然物像类2）Natural Images第三组 几何图案类3）Geometric Patterns第二单元 形式多样的构图布局2.Diversity of Composition1、 第一组 格律体构图1）Metric Composition2、 第二组 平视体构图2）Isometric Composition第三组 立视体构图3）Perspective Composition二、 第三单元 灵活多变的艺术手法Adaptability of Artistic Skills1、 第一组 周身布饰1)Spread Decoration第二组 巧设路径2)Artful Cohesion2、 第
4、三组 合理夸张3)Adequate Exaggeration第四组 数艺并施4)Combined Techniques第四单元 独具特色的总体装饰 4.Unique Overall Decoration3、 第一组 黑漆装金1)Foil coating on black lacquer background4、 第二组 五彩装金2)Foil coating on colorful background第三组 本色素雕3)Natural color woodcarving第四组 漆画菁华4）Lacquer painting第四部分 器用篇Utilization第一单元 建筑饰件1.Archite
5、ctural Decorations第二单元 礼祭器具2.Ritual Vessels第三单元 家具陈设3.Furniture placement第五部分 欣赏篇 More Exhibits for Appreciation 结束语Epilog前 言潮州木雕是我国著名的民间传统木雕流派之一，主要流行于粤东的潮州、潮安、饶平、普宁、汕头、澄海、潮阳、揭阳、揭西、惠来等旧潮州府属地区，以此故名。潮州木雕历史悠久，具有鲜明的地方特色，以饱满繁复、精巧细腻、玲珑剔透、金碧辉煌的艺术风格而著称于世。那美仑美奂、造型各异的器物品类，那生活气息浓郁、民俗意蕴深厚的题材纹饰，那惟妙惟肖、纤毫毕现的雕刻工艺，那
6、豪华富丽、流光溢彩的漆金技法，形象地展示着潮汕人的审美情怀和文化风貌，具有独特的魅力和迷人的风采！IntroductionChaozhou woodcarving represents a famous school of folk woodcarving in China, with great popularity in the Eastern Guangdong areas historically under the jurisdiction of Chaozhou Prefecture including Chaozhou, Chaoan, Raoping, Shantou, Che
7、nghai, Chaoyang, Jieyang and Puning.Chaozhou woodcarving enjoys a longstanding history with distinctive local characteristics. This form of art is famous for its richness and subtlety of details, delicate and elaborate designs, exquisite craftsmanship and grand look. The magnificent utensils in vari
8、ous shapes, the decorative patterns with rich sense of life and profound representation of local culture, the delicate and microscopic carving and the splendid and glorious lacquering and foil coating, are all vivid embodiment of the custom, fashion, culture and spirit of the Chaozhou-Shantou people
9、, displaying its unique charm and enchanting elegance. 序 厅 Introductory Hall展品：（民国）木雕建筑梁架（一套） 高约600宽约700cmThe decorative woodcarvings on the beam mounting (Republic of China)展品：金漆木雕进屏（屏） 每屏高约宽约cmGilt woodcarving screen设计提示拟利用木雕建筑构件复原一民居门厅。前言文字作雕刻贴金处理。第一部分 源 流 篇 部导言潮州木雕历史悠久，源远流长。它孕育和萌芽于唐代以前，发展于唐宋，成熟于
10、明代晚期，清代中晚期达到鼎盛阶段，至抗日战争时期逐渐走向衰退。新中国成立后，潮州木雕几经起伏，逐渐恢复，在传承与发扬中加以创新，风彩重现，成为中国首批非物质文化遗产名录之一。潮州木雕的发展兴衰，生动地折射着潮汕地区历史和文化的变迁，印证着潮汕人善于吸收融汇、精益求精、不懈进取的精神。 HistoryChaozhou woodcarving has a profound history, brewing prior to the Tang Dynasty, initiating in the Tang and Song Dynasties, maturing in the late Ming D
11、ynasty, flourishing in the middle and late Qing Dynasty and gradually falling in the period of Anti-Japanese War. Since the founding of the New China, Chaozhou woodcarving has risen and fallen several times. It has a new life in the heritage and carrying forward, included in the First Batch of China
12、 Intangible Cultural Heritage. The rise and fall of the Chaozhou woodcarving is a vivid reflection of the twists and turns in history and culture in the Chaozhou-Shantou area, witnessing Chaozhou-Shantou peoples ability to absorb and digest innovations, their unremitting pursuit of improvement and p
13、erfection.设计提示展品有实物、地图、照片、灯箱等，以辅助展品为主，实物展品较少。设计时要尽可能地使实物展品与辅助展品达到和谐统一，以通联式展柜、展壁为主，以满足连续性内容的展示要求。图版：清代潮州府疆域总图（双底接片）Map of Chaozhou Prefecture in the Qing Dynasty图片： 潮州古城图 （四底接片）Map of Ancient Chaozhou第一单元 发展期单元导言唐宋时期，潮州木雕不断发展，木雕制品初具水平，物像造型简洁粗犷，刀法刚劲洗练，风格拙朴浑厚。InitiationChaozhou woodcarving initiated in
14、 the Tang and Song Dynasties, when the finished woodcarvings were of a steady quality, featuring simple and vigorous figures, confident and clear cutting, and plain and vigorous style. 图片： 木鱼Wooden fish 说明： 唐代制品，原为潮州开元寺僧侣开膳时敲击信号之用。形像古拙浑厚，气韵沉雄，历千余年而不朽，弥足珍贵。Produced in the Tang Dynasty, the wooden fis
15、h had once been used by the monks in Kaiyuan Temple to strike the wooden fish as a signal for meals. The wooden fish looks plain and vigorous with a solemn and powerful air. The utensil proves especially precious, as it has remained imperishable through a history of more than a millennium.图片： 木雕龙头 W
16、ooden dragon head 说明： 宋代木雕制品，是潮州开元寺悬挂大铜钟的横木，上雕龙头纹饰，俗称“木龙”。雕刻简练粗犷，风格与唐代木鱼近似。Produced in the Song Dynasty, this work is the transverse beam on which hangs the bronze bell of Kaiyuan Temple in Chaozhou. A decorative pattern of dragon head was carved on the beam, which is commonly known as the “wooden d
17、ragon”. The rough and bold carving takes after the style of the wooden fish from the Tang Dynasty.第二单元 成熟期Maturation单元导言明代，潮汕木雕逐渐应用到建筑、祭器、家居陈设等方面。至明代晚期，木雕艺人已能综合运用浮雕、沉雕、圆雕和通雕等多种技法，并从平面雕饰向单层通雕发展，技艺成熟，逐步形成地方风格。雕刻题材丰富，物像造型简练，神态生动逼真，刀法明快有力，具有较高的艺术水平。In the Ming Dynasty, the application of woodcarving for
18、 decoration was extended to broader fields including architecture, worship and furnishing. By the late Ming Dynasty, woodcarvers began to combine various carving styles such as relief, intaglio, altorelievo and openwork with a shift from plain carving to single layer openwork, which marked the forma
19、tion of the local style. These carvings were of high artistic value with their rich themes, plain image patterns, vivid expression and confident cutting.图片：（明代）木雕府楼猴 Decorative wooden monkeys on the gate tower of Chaozhou Prefecture Office （Ming Dynasty） 说明： 府楼猴是明代潮州府府衙正门门楼-镇海楼栏杆108根望柱头的木雕装饰。雕刻比例准确，
20、线条简练，造型各异，神态生动，具有很高的艺术价值。现藏潮州市博物馆。These monkeys served as the decorative woodcarving on the 108-baluster capitals on the Zhenhai (Sea Dominating) Tower, the main gate tower of the Chaozhou Prefectural Office in the Ming Dynasty. The monkeys are accurately scaled with simple lines, varying images and
21、 vivid expressions, hence it has a high artistic value. They are collected in the Chaozhou Museum. 图片：（明代）庵埠文祠正座梁架Beam mounting of the main hall of the Confucius Temple (Ming Dynasty) 说明： 庵埠文祠位于潮安县庵埠镇，建于明天启六年（公元1626年）。正座梁架上装饰的木雕狮子、大象、飞凤、鱼龙等瑞兽珍禽，雕刻生动传神，代表了明代晚期的木雕水平。Located in Anbu Town, Chaoan , the
22、temple was built in 1626 (6th year of the Tianqi Period, Ming Dynasty). The beam cushions are in the patterns of such auspicious and precious animals as lions, elephants, phoenixes and ichthyosaurs. The lifelike animal images are typical of the woodcarving level of the late Ming Dynasty.图片：（明代）庵埠文祠正
23、座梁架木雕狮子、鱼化龙Wooden lions on the beam mounting of the main hall of the Confucius Temple in Anbu Town, Chaoan County. (Ming Dynasty)图片：（明代）庵埠文祠正座梁架木雕鱼化龙Wooden fish & dragon on the beam mounting of the main hall of the Confucius Temple in Anbu Town, Chaoan County (Ming Dynasty)图片：（明代）黄尚书府木雕穿枋头、驼峰Penetra
24、ting tie end and hump decoration in the Residence of Minister Huang in Chaozhou (Ming Dynasty)说明：黄尚书府位于潮州市西平路，为明崇祯年间礼部尚书黄锦所建，其木雕装饰简练粗犷，具有明代晚期的特点。Located in the north of Xiping Road in Chaozhou, the house was built by Huang Jin, Minister of Rites in the Chongzhen Period of the Ming Dynasty. The plain
25、 and bold decorative carving was typical of the late Ming Dynasty.展品：（明代）金漆木雕“文王访贤”花板 H260高62宽38厚5cm Gilt wood patterned plank featuring the story of King Wenwang Visiting Jiang Shang the Wisdom(Ming Dynasty)展品：（明代）浮雕“空城计”花板H260高62宽38厚5cmGilt wood patterned plank featuring the story of the Stratagem
26、 of the Vacant City.(Ming Dynasty)第三单元 兴盛期Prosperity单元导言清代，潮汕地区社会相对稳定，经济繁荣，木雕装饰成为社会风尚，特别是晚清时期，发家致富的海外华侨，纷纷出资在家乡大兴土木，营造祠堂、居室，雕梁画栋，豪华壮丽，大大地刺激了木雕艺术的发展。雕刻题材包罗广阔，工艺水平空前提高，多层镂空通雕技术炉火纯青，并与描金漆画、髹漆贴金等多种装饰技法相结合，以构图饱满、精巧细腻、玲珑剔透、金碧辉煌的艺术风格而闻名中外。Chaozhou woodcarving prospered in the Qing Dynasty, especially after
27、 the middle period. The stable society and prosperous economy brewed the fashion of decorative woodcarving, which greatly boosted the development of woodcarving. Woodcarving of this period features a broad range of themes, unprecedented improvement of craftsmanship, perfected multilayer openwork and
28、 the combination of various decorative techniques such as gold-traced lacquer painting, lacquering and foil coating. All these contribute to a world-renowned artistic style marked by richness and subtlety of details, delicate and elaborate design, exquisite craftsmanship and grand look.图片：（清代）陈氏家庙梁架
29、木雕装饰Decorative carving on the beam mounting in Chen Clan Temple in Guxi（Qing Dynasty）说明： 古溪陈氏家庙位于揭阳市仙桥镇永东村，建于清雍正年间，规模宏大，梁柱间多镶嵌人物故事花卉鸟兽饰件，雕工精细，装饰华丽，反映了清代中期潮州木雕的水平。Located in Yongdong Village, Xianqiao Town, Jieyang City, the temple was built in the Yongzheng Period of the Qing Dynasty. The beams and
30、columns of this large-scale temple are decorated with human figures, stories, flowers, birds and animals. The exquisite carving and elaborate patterns reflect Chaozhou woodcarving achievements in the middle Qing Dynasty.图片：揭阳关帝庙清代木雕装饰 Decorative woodcarving in the Temple of Guan Yu the Military Sage
31、 in Jieyang（Qing Dynasty） 说明： 揭阳关帝庙位于今揭阳市榕城镇，始建于明万历二十九年（公元1601年），清乾隆四十二年（公元1777年）扩建，光绪元年（公元1875年）重修。其前厅藻井及前座的木雕多为乾隆年间雕刻，题材丰富多样，整体装饰疏密有致，刀法洗练，线条流畅，人物生动传神，具有较高的艺术欣赏价值。Located in Rongcheng Town in Jieyang City, the temple was built in 1601 (29th year of the Wanli Period , Ming Dynasty), expanded in 177
32、7 (42nd year of the Qianlong Period, Qing Dynasty) and renovated in 1875 (1st year of the Guangxu Period, Qing Dynasty). Most of the woodcarvings in the caisson ceiling of the front hall date back to the Qianlong Period, featuring a rich variety of themes, orderly general arrangement, plain carving,
33、 smooth lines and vivid figures, which gives a high artistic value.图片：揭阳关帝庙前厅清代木雕麻姑献寿Woodcarving in the front hall featuring the story of Fairy Magu Endowing Longevity（Qing Dynasty）图片：揭阳关帝庙前厅清代木雕寿星Woodcarving in the image of the God of Longevity（Qing Dynasty）图片： 揭阳关帝庙前厅清代木雕茶具Woodcarving tea set（Qing
34、 Dynasty）图片： （清代）从熙公祠木雕装饰Woodcarving of the Congxi Ancestral Hall （Qing Dynasty）a. 拜亭梁架木雕装饰 Decorative woodcarving on the beam mounting of the worship hall a. b. c. b. 正座梁架木雕装饰Decorative woodcarving on the beam mounting of the main hallc.正座后槽梁架木雕装饰Decorative woodcarving on the beam mounting of the b
35、ack slope in the main hall 说明： 从熙公祠位于潮安县彩塘镇金砂村，为马来西亚华侨陈旭年汇资兴建，始建于清同治九年（公元1870年），竣工于光绪九年（公元1884年）。以精巧细腻、玲珑剔透的木雕、石雕装饰而闻名。Located in Jinsha Village, Caitang Town, Chaoan County, the ancestral hall was built with the fund raised by Chen Xunian, a Malaysian Chinese. Construction started in 1870 (9th year
36、 of the Tongzhi Period, Qing Dynasty) and was completed in 1884 (9th year of the Guangxu Period ,Qing Dynasty). The reputation of the temple comes from its delicate and exquisite woodcarving and stone carving.展品：（清代） 通雕蟹篓形梁托 H1578 长38宽28厚16 Crab-cage-shaped carved beam cushion in openwork(Qing Dynas
37、ty)说明：此件原为建筑梁架构件，以具有鲜明地方特色的蟹篓为题材，作品结构紧凑，雕刻粗细适度，既满足了承重的需要，又具有较强的装饰效果，达到了实用与装饰的有机结合。This is an architectural component with distinctive local characteristic theme of crab basket. The work is compact in structure, moderate in thickness, which not only meets the needs of load bearing and but also has a
38、strong decorative effect, achieving an organic combination of practical use and decoration.展品：清代 通雕博古花卉纹龛门肚 H268 长80宽40厚5Shrine door panel with patterns of flowers and ancient patterns (Qing Dynasty) 第四单元 衰退期Declination单元导言民国初期，潮州木雕业上承清代之余绪，得以继续发展，工艺独到之作时有出现。抗战时期，社会动荡不安，经济萧条，民不聊生，百业凋零，昔日繁荣的潮州木雕业萎靡不振
39、，逐渐走向衰退。In the early Republic of China ,Chaozhou woodcarving still extended from the Qing Dynasty and had a further development with frequent sparkles in woodcarving works. The once prosperous Chaozhou woodcarving began to decline from its climax in the period of the Anti-Japanese War (1937-1945), d
40、ue to instable society, depressed economy and lack of means of livelihood.图片：梅祖家祠拜亭梁架木雕装饰Decorative woodcarving on the beam mounting of the worship hall in the Mei Clan Temple说明： 梅祖家祠坐落在汕头市潮阳区谷饶镇深洋村，为富商陈梅生所建，始建于1921年，后因主人去世，家道中落，故时建时停，其木雕构件髹红漆，未贴金箔，别具风格。Located in Shenyang Village, Gurao Town, Chaoy
41、ang District , Shantou City, the Mei Clan temple started to be built in 1921 . The woodcarving components were uniquely painted with red lacquer without foil coating due to the death of the owner and the declination of the family.图片：梅祖家祠正座木雕装饰Decorative woodcarving on the beam mounting of the worshi
42、p hall in the Mei Clan Ancestral Hall 展品：（民国）浮雕洋车人物花板 H427 长31宽16厚2Plank in relief featuring the patterns of cars, rickshas，and human figures (Republic of China) 展品：（民国） 浮雕喜鹊牡丹花板 H418 长60宽12厚2Plank in relief featuring the patterns of magpies and peonies (Republic of China)说明：作品以红漆衬底，上浮雕牡丹喜鹊图案，构图颇为丰满
43、，较少露底，花瓣、叶脉、羽毛等细部雕刻得尤为细腻传神，花叶圆润丰盈的质感、鸟儿活泼自然的动态尽显。两侧刻有题款：“民国戊辰秋月刊，东升楼王振东置。”The work is designed with magpie and peony on red ground in relief. The composition is quite plump with less exposed ground .Veins, feathers and other fine detail carvings are especially delicate and vivid. Flowers and leaves
44、are carved with a round and vigorous texture. Birds are carved lively and naturally. Inscriptions are engraved on both sides.展品：（民国）金漆木雕博古人物故事小神龛 H601 高37 宽28 厚15 Small gilt wood shrine featuring ancient patterns, figures and stories (Republic of China)说明：神椟的两门正背均分六个部分装饰。正面上横肚通雕花鸟图，门肚通雕人物故事，下横肚为黑漆贴金
45、浅浮雕卷草纹。门背面上横肚为镂雕花鸟，门肚为博古图，瓶花、如意、宝鼎、牡丹，以及寓意子孙万代的缠枝葡萄。椟内饰缠枝松鼠葡萄纹落地罩，体现出潮汕人祈求平安、吉祥、富贵、子孙丰隆的美好意愿。下为红漆地贴金箔浅浮雕方格纹枋栏。椟内底板为磨金漆画人物故事图，并署民国廿六年款。The shrine doors are divided into six decorative boards in the front and at the back. The front upper transverse panel is decorated with birds and flowers in openwork
46、 . The shrine door is featuring the patterns of figures and stories . The bottom transverse panel is designed with foil coating grass scrolls in relief coated with gold against the background of lacquer . The back upper transverse panel is carved with birds and flowers in openwork. The shrine door i
47、s featuring such ancient patterns as vase flowers ,ruyi , peony as well as the pattern of interlocking grapes (many children). The pattern of interlocking pine ,grapes and squirrels inside the shrine reflects good wishes of the Chaozhou-Shantou people for peace, good fortune, wealth and many children. Square foil coating columns in relief on red ground are at the bottom. The bottom board inside is decorated with a grinding gold lacquer painting with stamp of the 26th year of the Republic of China.第五单元 复兴期单元导言新中国成立以来，潮州木雕几经起伏，在传承与发扬中获得了新生，木雕制品以满足当代人审美需求的独立摆件为主，题材、构图、造型、技法等方面均有突