中国传统工艺
2010-1
五洲传播出版社
杭间，郭秋惠 著，朱攸 著，宋佩铭 译
202
The traditional arts and crafts of China have won uniquegood reputations in the history of the material culture of thevarious nationalities in the world. Since Zhang Qian （？——c.i14 B.C.）of the Han Dynasty served as an envoy abroad to the WesternRegions （a Han Dynasty term for the area west of Yumenguan,including what is now Xinjiang and parts of Central Asia） and thegradual formation of the Silk Route, the traditional arts and craftsof China have been introduced in an unfailing way to the MiddleEast first via the Central Asia and the Western Asia and then toEurope and the five continents and four oceans. At the time whenother nationalities intruded or disorders caused by continuousmilitary operations, Chinese craftsmen in the successivedynasties of past ages could often survive by virtue of one singleskill and became emissaries for diffusing the culture of differentnationalities.
The heaven has time, the earth has vitality, material has beauty, work has ingenuity. Chinese arts and crafts enjoy a unique reputation in the history of material civilization among various nations in the world. For several thousands of years, people's handicrafts in their development echoed with the rhythm of lifo working with the rising sun and reposing at sunset. All species of handicrafts in their earliest states are related to usage: always practical, plain and warm, and in possession of a wisdom that adapts to agricultural civilization. Even the high-end handicrafts at the court and among the literati, such unpretentious tradition still remain and reveal a touch of pragmatic trace. All this is associated with the everlasting farming culture of China and her exceptional geographical position; which has left us rich cultural heritage in which wisdom of life and human creation is contained.
Hang Jian, born 1961, Ph.D., professorwith Academy of Arts and Design, TsinghuaUniversity, deputy dean. Graduated fromDepartment of Art History, Central Academyof Arts, he was once editor-in-chief of theDecoration Journal; director of Departmentof Art History, Academy of Arts and Design,Tsinghua University; managing deputy directorof Cheung Kong School of Arts and Design,Shantou University; senior visiting scholar toCollege of Architecture, Art, and Planning,Cornell University, USA. His writings includeYuanxiang ~ Design, Way of Design BasicProblems in Chinese Design, A History ofChinese Technology Aesthetics, The Idea ofCraftsmanship, New Figural Art, Art Dimensions,Wisdom of the Body Spiritual Landscape ofContemporary Chinese Oil Paintings, A Historyof Chinese Technology Aesthetic Ideology, etc. Guo Qiuhui, born 1979, Doctor of Design Art,graduated from Department of Art Historycurrently postdoctoral researcher with Academyof Arts and Design, Tsinghua University. Writingsinclude Chinese Arts and Crafts （written jointly）,Chasing the Suns Light and Reflection ~ DengWei （compiled jointly）.
PrefaceHistory and Background of the Traditional Arts and Crafts of China Arts and Crafts during the Primitive Society Arts and Crafts during the Xia, Shang and Zhou Dynasties Arts and Crafts during the Spring and Autumn Period and the Warring States Period Arts and Crafts during the Qin and Han Dynasties Arts and Crafts during the Six Dynasties Arts and Crafts during the Sui, Tang and Five Dynasties Arts and Crafts during the Song, Liao, ]in and Yuan Dynasties Arts and Crafts during the Ming-Qing Dynasties and Republic of ChinaArts and Crafts in the Field of Utensil Ceramics Bronze Ware LacquerArts and Crafts in the Field of Appareler Embroidery Printing and Dyeing Silk WeavingArts and Crafts in the Field of Furnishings Furniture Gold and Silver Ware, Glassware, Enamelware Bamboo Carving, Wood Carving, Ivory Carving……
During the Qianlong regime in the Qing Dynasty, there wasan ordinary lacquerer named Shen Shaoan running a shopby the Shuangpao Bridge. He was engaged mainly in lacquerpainting but also in making small commodities like lacquer ware,lacquer bowl, memorial wood tablet, etc.. As his business wasslack, Shen Shaoan often went to those imposing dwellings andspacious courtyards of officials and officers or Taoist templesand Buddhist temples to do lacquer painting work. Once whenhe was working in an ancient temple, he found the wood of thehorizontal inscribed board of the temple at the entrance hadalready rotten but the body inside mounted with lacquered linenwas still intact. Shen Shaoan was a man careful enough to getsome inspiration from it. He first molded figurines, flowers, birdsor utensils with clay and then coated them with lacquered linenor silk fabric layer by layer.
