Heritage on Fingertips-Gold and Lacqer Wood Carving 指尖上的传承——潮州金漆木雕

Gold and lacquer wood carving, also known as Chaozhou gold lacquer wood carving, referred to as Chaozhou wood carving, is a Chinese folk carving art that originated from the Chaoshan area in Guangdong. It is named after Chaozhou wood carving and Dongyang wood carving and is also known as China's two major wood carving systems.
Gold lacquered wood carving began in the Tang Dynasty and flourished in the Song Dynasty. In temple buildings, lifelike wood carving crafts can be seen everywhere, often with a storytelling and contemplative meaning; and the idols for worship are often carved in wood, even with gold leaf on them to show the nobleness of camphor wood. Carving for the main materials, and lacquered and gold-plated wood carving on it. With golden brilliant artistic effect.
Gold lacquered wood carving is developed on the basis of wood carving. Built in the Kaiyuan Temple of Chaozhou in the twenty-sixth year of the Kaiyuan (738) in the Tang Dynasty, the Tang Dynasty woodcarving "Muyu" and the Song woodcarving "Wood Dragon" (the hanging beam of a bronze bell) are preserved. During the Ming and Qing dynasties, the residences of officials and businessmen in Chaozhou (now Chaoshan area) were often carved with beams and paintings. Woodcarving was generally used as decoration on buildings and appliances, and the techniques of lacquering and gold-plating were used. In the Ming Dynasty, Li Ling described in "Guangji Bridge Fu", "The first floor of Wuzhang, the first floor of Shizhang, Huatong Temple, the Golden Horn of Diaobang, the sloping threshold of hurdles, and the lacquer of Dan paint." The hanging tubes in the Kaiyuan Temple, such as "Xianji Sending Children", the temple hall table, and "golden stupa", are also gold lacquered wood carvings of the Ming Dynasty. Among them, the sculpted tables carved during the Wanli period (1573-1619) have been carved. Techniques. After the Qianlong period of the Qing Dynasty, gold lacquered wood carvings became a glorious craft, and were widely used in halls, bedrooms, doors, windows, screens, several cases, hanging screens, plaques, beds, cabinets, sleeping pillows, and shrines, idols, and god cards. , Tin box, incense burner cover, candle holder, etc. The golden lacquer wood carvings of this period had a wide range of subjects and complicated composition. Various techniques such as relief, round carving, and engraving were used, especially the multi-level engraving techniques, forming a unique artistic style. The "crab baskets" carved on the beams of the hall of the Holy King Temple in Anji, Chaozhou use multi-level carving techniques to express the vivid posture of crabs in bamboo baskets. The Chaozhou “Already Yellow Gong Temple” built during the Guangxu period (1875 ~ 1908) of the Qing dynasty. The golden lacquered wood carvings on the beams of the hall are selected from the theme of classical opera. The composition is complex and the multi-level carving is extremely fine.
金漆木雕 （gold and lacquer wood carving）又称潮州金漆木雕，简称潮州木雕，是一项中国民间雕刻艺术，发源于广东潮汕地区得名，潮州木雕与东阳木雕并誉中国两大木雕体系。
金漆木雕始于唐，盛于宋。在庙宇建筑中，随处可见栩栩如生的木雕工艺，往往带有故事性，蕴含发人省思的意义；而供人祭拜的神像，也常是木头雕刻，甚至贴上金箔以显示尊贵以樟木为主要原料进行雕刻，并在其上髹漆、贴金的木雕。具有金碧辉煌的艺术效果。
金漆木雕是在木雕的基础上发展而来的。建于唐代开元二十六年(738)的潮州开元寺中，留存有唐代木雕“木鱼”，以及宋代木雕“木龙”(铜钟的悬梁)。明清两代，潮州（今潮汕地区）官宦、商贾的住宅多尚雕梁画栋，木雕普遍作为建筑和用具上的装饰，并使用髹漆、贴金的技法。明代李龄在《广济桥赋》中描述道，“五丈一楼，十丈一阁，华彤橑，雕榜金角，曲栏斜槛，丹漆涂垩”，可见当年的情景。开元寺内的挂筒“仙姬送子”、大殿龛桌和“金千佛塔”等，也都是明代金漆木雕的作品，其中万历年间(1573～1619)雕刻的龛桌已运用镂雕技法。清代乾隆以后，金漆木雕成为显耀华贵的工艺品，并广泛用于厅堂、居室中的门、窗、屏风、几案、挂屏、横匾、床榻、橱柜、睡枕以及神龛、神像、神牌、馔盒、香炉罩、烛台等。这个时期的金漆木雕，题材广泛，构图复杂，使用浮雕、圆雕、镂雕等各种技法，特别是运用多层次的镂雕技法，形成了独特的艺术风格。潮州安济圣王庙厅堂横梁上雕刻的“蟹篓”就运用多层次镂雕的技法表现了螃蟹在竹篓内的生动姿态。清代光绪年间(1875～1908)建成的潮州“已略黄公祠”，其中堂横梁的金漆木雕，选用古典戏曲题材，构图复杂，多层次的镂雕极为精细，是清末的代表作品。