广东省博物馆木雕展馆英文讲解词

漆木精华——潮州木雕艺术展览

Beauty Is

Gilt Wood

Chaozhou 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.Tools

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 Composition

1、第一组格律体构图1）

Metric Composition

2、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

Skills

1、第一组周身布饰1)

Spread Decoration

第二组巧设路径2) Artful Cohesion

2、第三组合理夸张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 Decoration

3、第一组黑漆装金1)

Foil coating on black

lacquer background

4、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.

Architectural 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！

Introduction Chaozhou 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, Chao’an, Raoping, Shantou, Chenghai, 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 various 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, 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700cm

The decorative woodcarvings on the beam mounting (Republic of China)

展品：金漆木雕进屏（２屏）每屏高约３２０×宽约５６cm

Gilt woodcarving screen

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。

History

Chaozhou woodcarving has a profound history, brewing prior to the Tang Dynasty, initiating in the Tang and Song Dynasties, maturing in the late Ming Dynasty, 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 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 people’s ability to absorb and digest innovations, their unremitting pursuit of improvement and perfection.

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。

Initiation

Chaozhou woodcarving initiated in 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

fish 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

Wooden 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 dragon”. 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 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 formation 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，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 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, Chao’an , the 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, Chao’an Count y. (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, Chao’an County (Ming Dynasty)

图片：（明代）黄尚书府木雕穿枋头、驼

峰

Penetrating 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 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5cm

Gilt wood patterned plank featuring the story of the Stratagem 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 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 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 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 Y u the Military Sage 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 1777 (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, 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 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 hall

c.正座后槽梁架木雕装饰

Decorative woodcarving on the beam mounting of the back 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, Chao’an County, the ancestral hall was built with the fund raised by Chen Xunian, a Malaysian Chinese. Construction started in 1870 (9th year 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 Dynasty)

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 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5 Shrine 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，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), due 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, Chaoyang 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 worship 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2

Plank 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2

Plank 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，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，东升楼王振东臵。”

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 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 . 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 is 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、技法等方面均有突破，历史悠久的潮州木雕艺术绽放出新的光彩。2006年潮州木雕被正式列入中国首批非物质文化遗产名录，成为中华民族的宝贵文化财富。

Rerisin g

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. Chaozhou woodcarving takes independent ornaments as main products in order to meet the aesthetic needs of contemporary people , making breakthrough in theme, composition, shape and technique, etc. Historical Chaozhou woodcarving art bursts out new splendor. It was formally included in the First Batch of China Intangible Cultural Heritage in 2006, becoming a valuable cultural wealth of the Chinese nation.

展品：（现代）通雕蟹篓长32厘米、宽29厘米、高12 厘米Wooden crab cage in openwork

(Modern)

说明：作品以整块樟木雕刻而成，

为著名潮州木雕艺人张鉴轩、陈舜羌师徒共同创作。作者运用娴熟高超的多层镂通雕和圆雕技艺，由外而内，逐层雕镂，将蟹篓内外大小各异的十只螃蟹刻划得惟妙惟肖，栩栩如生，是一件构思巧妙，造型优美，玲珑剔透的珍贵艺术品。1957年，该作品在苏联莫斯科“世界青年联欢节艺术博览会”上获得铜质奖章。

This work was created by master woodcarver Zhang Jianxuan and his apprentice Chen Shunqiang. The carving is completed layer by layer on a whole piece of camphor from outside in. Though it is a painstaking job to carve the crabs inside the cage, the woodcarvers managed to carve more than ten lifelike and interesting crabs within the small space after careful planning and knifing. The perfect composition, precise arrangement and the exquisite carving fully display the superb skills of the woodcarvers. The work is a bronze medal winner in the Art Fair of the World Youth Festival in Moscow in 1957.

图片：中国工艺美术大师陈培臣创作的龙虾蟹篓。

Wooden crab cage by China Arts and Crafts master Chen Peichen

图片：中国工艺美术大师李得浓创作的木雕喜鹊闹梅挂屏

Wooden hanging screen with the pattern of magpies and plum blossoms by China Arts and Crafts master Li Denong

第二部分制作篇

Craftsmanship

[部导言]

潮州木雕经过上千年的发展，在材料、工具、技法等方面自成特色。木雕艺人选择合适的木料，精心构思，因材施艺，运用不同的工具和独特的雕刻技

法，制作出一件件精美的作品。Having developed for more than 1000 years, Chaozhou woodcarving has formed its unique characteristic in material, tools and techniques. Based on needs of design, woodcarvers applied different techniques according to the quality of the materials and practiced elaborate carving to produce countless delicate works.

第一单元材料Carving

Techniques

[单元导言]

潮州木雕所用材料主要有木料、漆料、颜料、金属粉箔等四类。所用木料主要有樟木、杉木、苦楝木、花梨木等多种，以樟木、杉木最为常见。漆料多为植物漆，经过调制，髹涂于木雕器物的外表，起保护、装饰之用。颜料、金属粉箔则按实际需要描绘或粘贴于器表，进一步强化装饰效果。

Common materials used in Chaozhou woodcarving can be put into the four categories of wood, lacquer, pigment and foil. Common woods include camphor, chinafir, chinaberry and rosewood, among which camphor and chinafir are commonest. Lacquer is usually made from plant and is applied to the surface of the woodcarving works for protection and decoration. Pigment and foil are painted or coated to the surface to further improve the decorative effect according to the actual needs.

展品：樟木标本BW01-1 长40、直径20

Camphor

展品：樟木标本BW01-2 长40×宽25×厚3

Camphor

说明：樟木是潮州木雕的首选木料，分黄樟、红樟、乌肚樟、灰白樟等多种，以山区出产的黄樟为最佳。樟木有浓郁的樟脑香味，木质柔润，纹理细密，耐浸、耐湿、不易变形，硬度与韧性适中，容易加工，具有易入刀、不易崩、防虫蛀等优点，适宜于雕刻精细的浮雕、圆

雕和多层镂空通雕。

This is the first choice for Chaozhou woodcarving and comes in various shades of colors, such as yellow, red, black and grey, among which yellow camphor from the mountainous areas is the best. Camphor features a strong scent of camenthol, soft and smooth quality and fine texture. With a resistance against soaking and wetting, it is insusceptible to deformation. With the right hardness and toughness for carving, the wood is easy to process and work through and is insusceptible to breaking or worm eating. This makes it suitable for delicate carving ,such as relief, altorelievo, and multilayer openwork,.

展品：杉木标本BW02-1 长40、直径20

Chinafir

展品：杉木标本BW02-2 长40×宽25×厚3 Chinafir

说明：杉木木纹平直，结构细致，质地轻松，容易加工，能耐朽，收缩变形小，但纹理直，缺韧性，雕刻易崩缺、起“毛”，故不宜作精细的镂通雕刻，多用于建筑物或大型家具上，作粗放的装饰性雕刻。

With straight grains, fine texture and light quality, chinafir is easy to process, insusceptible to rotting and excessive shrinking. However, the straight grains are accompanied by poor toughness and susceptibility to breaking and rough surface, thus the wood is unsuitable for fine openwork and is usually used for coarse decoration in buildings and large furniture.

展品：苦楝木标本BW03-1 长40、直径20

Chinaberry

展品：苦楝木标本BW03-2 长40×宽25×厚3 Chinaberry

说明：北方称为“楝椅”，广东人又称之为“森木”。木纹美观，强度与变形

性能类似樟木，容易加工。多用来制作床、橱柜等家具，装饰以沉雕、浮雕为主，不宜作多层通雕。

This wood has beautiful grains with similar hardness and deformation resistance to camphor. Easily processed, it is usually used in beds and cabinets. Decoration on chinaberry comes mostly in intaglio and relief carving, not multilayer openwork.

展品：花梨木标本BW04-1 长40、直径20

Rosewood

展品：花梨木标本BW04-2 长40×宽25×厚3 Rosewood

说明：花梨木品种较多，属于硬木类，按材质颜色分为红花梨、白花梨两种，以白花梨最常见，多从泰国、缅甸等国进口。花梨木质地坚硬，木纹清晰美观，多用来做床脚，雕成虎爪、狮爪等形状，美观耐用。

This hard wood comes in various types and is often categorized into red rosewood and white rosewood according to the color. White rosewood is commoner and is mostly imported from Thailand and Burma. Hard with clear and beautiful grains, rosewood is often made into lasting and beautiful bed legs in such shapes as tiger paws and lion paws.

图片：漆料（生漆、熟漆、金胶漆）BT01

Lacquer (raw lacquer, refined lacquer and gold size)

说明：潮州木雕所用漆料多为植物漆，分生漆、熟漆两种。生漆是经过过滤的天然漆树汁液；熟漆即经过炼制的漆，是在生漆中加入适量桐油，在太阳光的热晒下不停地搅拌三、四天，使漆的性能变得柔和而有光泽，并且不易干燥，以便粘贴金箔。金胶漆是粘贴金、银箔或金银粉的粘合剂，又称贴金漆、浑金漆，以生漆加热桐油调制而成，并加入适量朱砂，使所贴的金箔显得更加艳丽。

Most lacquer used in Chaozhou

woodcarving is made from plant and comes in either raw lacquer or refined lacquer. Raw lacquer is the filtered extract from natural lacquer plant (usu. cashew) while refined lacquer is the mixture of raw lacquer and a suitable amount of Chinese wood oil. This mixture is kept under continuous mixing in the sun for three or four days to make it soft, glossy and uneasy to dry for the convenience of foil coating. Gold size is the glue for gold or silver foil or powder. It is a mixture of filtered raw lacquer, hot Chinese wood oil and a suitable amount of cinnabar, which adds to the glow of the foil coating.

展品：颜料一组 BW06

Pigment

说明：潮州木雕常用的颜料有正银朱、黄漂、红丹、乌烟、铜绿、砂绿、孔雀蓝、酞酯蓝、石黄、藤黄等。其用途一是加入漆料，调配成色漆。在漆料中调入红颜料，可使金箔的颜色更加辉煌亮丽。二是根据装饰需要调配各色颜料，髹涂于木雕饰件的外表，或用平涂、没骨、钩填等技法在器物漆面上绘画各种纹饰。

The common pigment used in Chaozhou woodcarving comes in vermilion, permanent red, black, bronze green, sand green, peacock blue, blue, orpiment, gamboges, etc. One use of the pigment is to add color to lacquer through mixing. Chaozhou woodcarvers tend to add red colors to lacquer to achieve an extra shine in the foil coating. Another use of the pigment is to mix it to different shades of colors and paint it to the surface of the woodcarving works or to paint different decorative patterns on the lacquered surface of utensils through different techniques.

展品：金箔、银箔、锡箔、铝箔、铜粉

Gold foil, silver foil, tin foil, aluminum foil, brass powder

说明：潮州木雕流行粘贴或髹涂金

属粉箔的装饰手法，所敷贴的金属粉箔主要有金箔、银箔、锡箔、铝箔、铜粉（俗称金粉）等，其中以金箔最为常用。髹漆贴金装饰是潮州木雕的主要特点之一，故又有“金漆木雕”之称。

Foil coating and painting are popular in Chaozhou woodcarving. Common foils are gold foil, silver foil, tin foil, aluminum foil and brass powder (commonly known as gold powder), among which gold foil is commonest. As foil coating and painting is one of its major features, Chaozhou woodcarving is also known as gilt woodcarving.

第二单元工具

Tools

[单元导言]

潮州木雕艺人所用的工具多种多样，按其功能可分为选材取坯工具、雕刻工具、调漆工具、打磨工具、髹涂工具、描绘工具、敷贴工具等七大类。Chaozhou woodcarvers use a variety of tools in their work, which can be categorized according to function into shaping tools, carving tools, mixing tools, grinding tools, coating tools, painting tools, and pasting tools.

展品：叩槌BW08 长30×宽13×高10

Wooden hammer

说明：叩槌是木雕艺人雕刻时用来敲击雕刻刀具的槌子，俗称“叩槌”。槌身为坚实的龙眼木，槌柄则为杂木。木质叩槌具有弹性，起缓冲作用，便于控制敲击力度，是木雕艺人不可缺少的工具。

This is used to strike the chisel during carving. The head of the hammer is made of longan wood while the handle of any available wood. The springy wooden hammer offers a buffer in striking and thus facilitates the control of striking force. It is an indispensable tool for woodcarvers.