蔡氏漆线雕

        Cai’s Lacquer Engravings

        漆线雕是古代的佛像雕塑艺术的遗脉，是受宋元时期的线雕工艺特别是沥粉和泥线雕等工艺的启发而产生的，形成于明末清初，至清晚期逐渐成熟。漆线雕在厦门沿海地区的发展依赖于民间宗教的兴盛及神佛雕塑行业的繁荣。传统的漆线雕制作包括四个方面：雕塑，粉底，漆线装饰，妆金填彩。漆线雕的“漆线”工艺关注线条本身的审美特质，使线的形态丰富而多变，在创作中随心所欲而达到“线”的审美的极高境界，体现了中国工艺美术在线条美的表现上的进化。其精细之处毫厘必现，所有细节都非常严谨，虽以线条盘结，却以浮雕形式展现。漆线雕完整地保留闽南独特的民间艺术特色。

Having been inspired by the varnish yarn and carving techniques in Song and Yuan dynasties, lacquer engravings came into being between Ming and Qing dynasty. It was gradually mature at the end of Qing dynasty. Originated from the ancient Buddhist sculpture art, the development of lacquer engravings depended on the popularity of the folk religion and the prosperity of Buddhist sculpture. The traditional preparation process of lacquer engravings includes sculpturing, filling powder, decorating varnish yarn and being glazed with gold. The process of varnish yarn gives priority to the aesthetic beauty of the line, rendering the natural and changeable features. All the details of the lacquer yarn shown in the way of embossment are elaborate and delicate. The Cai’s lacquer engravings reminiscently remain the unique folk art in southern Fujian province.