读懂艺术家 | 广东省美术馆青年策展人扶持计划入选项目“器物之外——漆艺的诗与思” · 艺术家唐明修

更新时间：2025-09-06 22:02  浏览量：1

当“漆”不再只是器表的装饰，而成为思想的剖面、时间的容器、跨学科的接口，我们得以在深沉如夜的漆光中，窥见东方哲思与当代精神的交汇。正在广东美术馆新馆展出的“器物之外——漆艺的诗与思”，为我们呈现的正是这样一个关于漆艺的新世界。本次展览是2024-2025年度广东省美术馆青年策展人扶持计划的入选项目。我们将通过读懂艺术家系列推送，聚焦唐明修、谢震、张温帙、郭小一、施鹏程五位参展艺术家，看看他们是如何在媒介的拓边与观念的裂变中，将漆艺重新激活为可对话、可质疑、可生长的当代艺术载体。

艺术家简介

Artist Biographies

唐明修

1958年10月生，福建福州人。中国美术家协会会员，中国美术学院中国漆艺术研究中心主任、硕士生导师、教授。中国美术家协会漆画艺术委员会副主任。 2015年至2018年任福建省美术馆馆长。

Tang Mingxiu

Born in October 1958 in Fuzhou, Fujian Province. Tang Mingxiu is a prominent figure in contemporary Chinese lacquer art. He is a member of the China Artists Association, a professor and Master’s supervisor at the China Academy of Art, where he also serves as Director of the Chinese Lacquer Art Research Center. Additionally, he holds the position of Deputy Director of the Lacquer Painting Art Committee of the China Artists Association. From 2015 to 2018, he served as Director of the Fujian Art Museum.

作品阐释

Work Interpretation:

断纹01

Crack Pattern 01

麻布、大漆

Linen and lacquer

170 × 170cm

2000年

“断纹”用人工的方法，制造出只有时间才能制造的痕迹。艺术家旨在让观者看到漆的另一面，是岁月沉淀之后的残缺之美。

“Crack Pattern” employs artificial techniques to simulate marks that only the passage of time can create. The artist seeks to reveal another dimension of lacquer—an aesthetic of imperfection that emerges through the sedimentation of time.

仓颉说文

Cangjie’s Shuowen

漆、虫蛀木、古籍残本

Lacquer, worm-eaten wood,

and fragments of ancient books

405 ×13 × 4.5 cm × 7

312 × 12 × 5.2 cm × 12

2012年

虫蛀木、古籍残本、漆，三者皆为自然造化之物，皆来自于树木：虫蛀木偶得于杭州郊外，内有虫蛀纹路，如地图中的川流，规律蔓延；古籍残本为漆园中的收藏——清代的手工纸木版印刷线装宋体字古籍，被北峰山中蛀虫所蛀，残缺不全；漆液采集自漆树，为漆树之血液，它最初的功能便是作为粘合剂被华夏的先民们使用。木条上的虫蛀纹路，作为一种虫啃食和爬行过后留下的痕迹，可以被观看，而不可被解读，被漆粘合在虫蛀纹路中的古籍中的宋体文字，在被漆液凝固后，亦变得难以辨识，在这两种“文字”都无法被我们阅读时，“语言”方才产生。

Worm-eaten wood, fragmented ancient books, and lacquer—all are natural creations derived from trees. The worm-eaten wood, serendipitously found in the outskirts of Hangzhou, bears tunneling patterns that resemble the flowing rivers on a map, spreading with an uncanny order. The fragmented books are part of the artist’s lacquer studio collection: Qing dynasty thread-bound volumes, printed in Song-style characters using hand-carved woodblocks on handmade paper, partially devoured by insects in the Beifeng mountains. The lacquer, tapped from the lacquer tree, is its lifeblood—originally used as an adhesive by early Chinese civilizations. The traces left by insects on the wooden strips—marks of gnawing and crawling—can be seen but not deciphered. The Song-style characters, embedded in these traces and bound by the solidified lacquer, also become illegible. When both forms of “writing” defy our ability to read them, it is only then that “language” begins to emerge

无根之山

Rootless Mountains

木、大漆

Wood, lacquer

尺寸不一

Dimensions variable

2024年

山峦静默，却非静止。我深信，真正的“无根”恰是最大的自由：这些山不依附土地而生，不迎合四季而变，却在每一道观者的目光中，被赋予瞬息万变的“心根”。透明方台折射出虚实相生，山影随观者游走而聚散。人在山外看山，亦在山中看人。

Mountains are silent, yet never still. I believe that true “rootlessness” is the ultimate form of freedom: these mountains are not born from the earth, nor do they shift with the seasons, yet in each viewer’s gaze, they are endowed with ever-changing “roots of the heart.” The transparent pedestal reflects the interplay of presence and absence, while the mountain shadows gather and disperse as the viewer moves. One observes the mountains from without, while simultaneously becoming part of the landscape—seeing others and oneself within the mountains.

未竟之圆

Unfinished Circle

瓷器、大漆

Porcelain, lacquer

直径170cm

Diameter 170 cm

2025年

圆，是人类心中理想的形状，象征着完满与终点。然而，正如圆周率那无限不循环的展开，它的边界永远无法被穷尽精确地丈量。

这无理数般的存在，恰如我们对圆满的执念——在理性计算中隐藏着不理性的渴望。我们不断逼近完美，却始终留有最后一寸未完成的距离。

The circle is the ideal form in the human imagination, symbolizing wholeness and completion. Yet, like the endless, non-repeating expansion of pi, its boundary can never be fully or precisely measured.

This irrational number mirrors our obsession with perfection—an illogical yearning hidden within rational calculation. We are forever approaching completeness yet always leaving an unfinished trace—an elusive final inch that remains just beyond reach.

筮

Divination (Shì)

木，大漆

Wood, lacquer

223 × 7 cm

2025年

虫篆即天垂象，卦辞在悬吊的不确定性扰动中消失，所谓“言者所以在意，得意而忘言”。或许所有对“答案”的追问，不过是人类将恐惧与渴望投射于虚无的共谋。

The worm-like evokes celestial omens, yet the oracle texts vanish amid the suspended tremors of uncertainty—echoing the ancient notion: “Words exist to convey meaning; once the meaning is grasped, words are forgotten.” Perhaps all our pursuit of “answers” is nothing more than a collective conspiracy, where fear and longing are projected onto the void.

广东美术馆新馆

GDMoA BAIETAN Venue

Scan the QR code to make an appointment

开放时间：每周二至周日9：00至17：00（16：30停止入场），逢周一闭馆（法定节假日和特殊情况除外）。

地址：广州市荔湾区白鹅潭南路19号。

Opening hours: 9:00-17:00 from Tuesday to Sunday, No admission after 16:30. Closed on Mondays (Excluding public vacation and exceptional situations)

Address: BAIETAN Venue: 19 BAIETAN South Road, Liwan District , Guangzhou, Guangdong

广东美术馆新媒体平台