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

[设计提示]

拟利用木雕建筑构件复原一民居门厅。前言文字作雕刻贴金处理。

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.

[设计提示]

展品有实物、地图、照片、灯箱等，以辅助展品为主，实物展品较少。设计时要尽可能地使实物展品与辅助展品达到和谐统一，以通联式展柜、展壁为主，以满足连续性内容的展示要求。

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 County. (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 Yu 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，东升楼王振东置。”

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。

Rerising

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.

展品：弓把、夹仔（待征集）BW09 长30×宽20

Bow and clamp

说明：弓把、夹仔用于起草图、量比例或作圆规。

This is used for drafting, scaling or drawing arcs.

展品：单手钢线锯 BW10－1 长58×宽40×高4

Steel wire saw

展品：双手钢线锯 BW10－2 长58×宽40×高4

Steel wire saw

说明：钢线锯用硬木作锯弓，用铁勾将有锯齿的钢线锯条固定在锯弓的两头，大小可根据实际用途而定。单手操作的，称为单手锯，双手操作的称为双手锯。钢线锯操作方便灵活，多用以锯割较规则的几何图案或花卉纹。

This is easily installed by fixing a steel wire with teeth on both ends of a bow of hard wood. It comes in any size as applicable. The saw can be made for the convenience of a single hand or both hands. The user-friendly saw is usually used to cut regular geometric patterns or patterns of flowers.

展品：方凿刀 BW13－1 长约25

Square chisel

说明： 方凿刀又叫平口刀，刀口平直，主要用于雕削平面部位，如亭台楼阁的屋顶、瓦片、梁柱以及浮雕的地子等等。

Also called flat-edge chisel, this chisel is used to carve and cut plain parts such as the roof, tiles, beams and columns of buildings and the background of relief.

展品：方湖刀l BW13－2 长约25

Arched square chisel

说明： 刀口略呈弧形，是镂凿形像粗坯的重要工具之一，善于表现稍有弧度的部位，如人物的头部、肩部等。

With a slightly arched edge, this chisel is an important tool for cutting and carving the rough shape of images. It is suitable for slightly arched positions such as the head and shoulder of a human figure.

展品：圆凿刀 BW13－3 长约25

Round chisel

说明： 刀口呈圆弧形，弧度较大，规格多样，用于雕刻物像的凸圆形、凹痕处、弧形衣纹以及花卉的花、叶等。

This kind of chisel comes in broadly-arched edges of various degrees for protruding and concave arcs, arched clothes patterns and flowers and leaves, etc.

展品：挠凿刀 BW13－4 长约25

Triangle Chisel

说明： 挠凿刀又称三角刀，刀刃呈三角形，刀的左右两侧成封面，锋利焦点在中角上，规格多种，用于雕削其它刀具难以触及的深层部位。

This kind of chisel comes in triangle edges with two blades on the left and right sides. The sharp edge focuses on the central angle with a variety of specifications for carving the deeper parts that are hard to reach.

展品：雕刀 BW13－5 长约25

Carving knife

说明： 刀刃成锐角形，操作时如执笔般灵活走动，用于刻划线条、花纹，如衣褶、叶脉等。

The blade of this knife, in the shape of an acute angle, can be driven flexibly like a pen to cut lines and patterns such as pleats and venations.

展品：毛尾刀 BW13－6 长约25

Hair-tail knife

说明： 镂空雕刻的特制刀具，刀刃为长锐角形，用于纹饰侧面的造型刻划，如雕削树干的杈枝等。

This special knife for openwork features a blade in the shape of a long acute angle for the carving of images on the side of the patterns, such as twigs of trees.

展品：磨刀石（油石、粉石、乌石） BW14 各长20、宽7.5、厚5

Whetstone（coarse-honing whetstone, medium-honing whetstone and fine-honing whetstone）

说明： 磨刀石是用来磨利刀、凿等工具的专用石块，按石质的粗细分为油石、粉石、乌石三种。油石去铁，粉石生刃，乌石起光。磨刀时按油石、粉石、乌石的先后次序进行。

The whetstone is a special piece of stone for honing knives and chisels. It is categorized into three types according to the fineness of its grains: coarse-honing whetstone, medium-honing whetstone and fine-honing whetstone, respectively for thinning, sharpening and smoothing. Honing of tools is conducted in sequence on coarse-honing, medium-honing and fine-honing whetstones.

展品：铁笔 BW15长约15

Iron pen

说明： 铁笔是一种特制的刻划工具，笔尖为铁质或钢质，使用时手执笔杆，在金漆画上刻划出物像的细部纹饰，如人的须发、衣服的花纹图案、花叶的脉络等。

Held at the shaft like a pen, this special tracing tool with an iron or steel point is used to carve the fine lines on the gilt painting such as hairs, patterns on the clothes and leaf venations.

展品：漆刷 BW16长20×宽6×厚1

Lacquer brush

说明： 漆刷是用来髹涂漆料的工具，有多种规格，制作原料主要有人发、牛毛、猪鬃三种。上漆时，要根据髹涂需要准备尺寸不同的漆刷。

This tool for applying lacquer comes in various sizes and in three main materials: human hair, ox hair and bristle. Brushes of different sizes are prepared according to needs before painting.

展品：排笔 BW17长15×宽6×厚1

Broad brush

说明： 排笔是用来髹涂容易流动的液体涂料的工具，通常以软性毛制成，尺寸大小以排管多少为准。

Made of soft hair, this tool comes in various sizes for the application of fluid coating. Its size is adjustable by varying the number of tubes.

展品：描绘工具（漆绘笔、描线笔、扫笔、绘画笔）BW18

Drawing tools (painting brush, line brush, cleaning brush, drawing brush)

说明： 描绘工具是在器物的漆面上描绘图案纹饰的工具，主要有漆绘笔、描线笔、扫笔、绘画笔等数种。漆绘笔用动物毛制成，以鼠毛最佳。描线笔用纯狼毫制成，笔毛长而细，用于勾画线条。扫笔用羊毛制成，用于清扫装饰部位的金属粉末和灰尘。

These are tools to draw patterns on the lacquered surface of articles, consisting mainly of painting brushes, line brushes, cleaning brushes and drawing brushes. The painting brush is made of animal hair, best of mouse hair. The line brush is made of wolf hair into a long and narrow shape for drawing lines. The cleaning brush is made of goat hair for clearing the decorated positions of metal utensils and dust.

图片：常用刀具用法示意图一组

Common knives

1、方凿刀、方胡刀、圆凿刀在取形象坯形时的持刀法

2、毛尾刀持刀法

3、雕刀的持法

1. 2. 3. 4.

4、方凿刀、方胡刀、挠凿刀在细雕刻时的持刀法

展品：滤漆架　　　　　　　长 宽 高(用于生产场景)

Filtering stand

第三单元 雕刻技法

Techniques

[单元导言]

潮州木雕的传统雕刻技法主要有沉雕、浮雕、通雕和圆雕四种，其中以多层次的镂通雕最具特色。木雕艺人可根据不同的装饰部位和艺术要求而灵活运用，各施其技，力求做到美观实用。

The traditional carving techniques in Chaozhou woodcarving are mainly four: relieve, intaglio, altorelievo and openwork, among which multilayer openwork is most typical. The woodcarvers adapt their techniques to different positions and artistic needs for better effects of beauty and application.

第一组 沉雕

Intaglio

[组导言]

沉雕即阴刻，图案纹饰低凹于木料平面，雕刻简便省工，纹饰不易受损，多用于房门、屏风门、橱柜门等建筑和家具饰件上容易受损的部位。纹饰以花木虫鸟最常见。构图疏朗，刀法简练，画意浓郁。

Intaglio is a pattern carved into or beneath the surface of the wood. As this kind of carving is easily accomplished with little damage to the patterns, it is often applied to susceptible positions on room doors, screen doors, cabinet doors and other furniture. The commonest patterns are flowers, trees, insects and birds. The elements are thinly scattered and plainly carved, much after the style of traditional Chinese paintings.

展品：沉雕兰花花板 长37×宽17 ×高1.5

Plank in intaglio with orchid patterns

展品：沉雕花鸟纹屏风门肚 长36×宽12×厚2

Door panel in intaglio with patterns of flowers and birds

展品：沉雕花鸟花板（一对） 各高40×宽23.5×厚3

Screen door panel in intaglio with patterns of flowers and birds

第二组 浮雕　

Relief

[组导言]

浮雕又称阳雕，所雕图案纹饰凹凸起伏于木料平面，并有地子作衬托。按图案纹饰浮突的高低又有浅浮、中浮、高浮之分。通常，浮突1厘米属浅浮雕，浮突2厘米的属中浮雕，浮突3厘米以上的属高浮雕。高浮雕又有“打浮”、“叠浮”、“钉浮”之别。

Relief is the projection of patterns from the surface of the wood with a flat background. Relief can take the form of low relief, medium relief and high relief according to the degree of projection. Usually a projection of 1 cm is low relief, a projection of 2 cm is medium relief while that higher than 3 cm is called high relief. High relief is further categorized into struck relief, superposed relief, nailed relief.

展品：（清代）高浮雕双凤牡丹纹花板 H528 长44×宽16×厚4

Plank in relief with the pattern of double phoenixes and peony（Qing Dynasty）

展品：（清代）“打浮”菱花地龙凤八仙纹花板 H235-1长64×宽39×厚4

Plank in struck relief with the pattern of dragons, phoenixes and the Eight Immortals on the background of diamond patterns（Qing Dynasty）

说明：“打浮”是潮州木雕传统浮雕技法之一，其方法是在整块木料上浮雕景物，将景物之外的空间铲平，使之略低于景物的平面，再雕刻图案纹样作为衬地，并将板面镂通。因以木槌敲打凿刀将板面凿通，故谓之“打浮”。

In this kind of relief, images are carved on the whole piece of wood while the remaining part is smoothed into a plain lower than the images to form the background, which is then patterned. The plank is then chiseled through, hence the name struck relief, as a wooden hammer is used to strike the chisel through the plank.

展品：（清代）“叠浮”人物故事花板 H472 长60×宽23×厚5

Plank in superposed relief featuring figures and stories（Qing Dynasty）

说明：叠浮是指镂空衬地图案与浮雕主体物像是以两块木料分别雕刻制作，然后叠在一起，用粘胶固定成为一件完整的木雕。

This style features the superposition of the major images on the background, both in high relief but each on a separate plank, which is stuck together with glue.

第三组 圆雕

Altorelievo

[组导言]

圆雕是立体雕刻，物像形体的四面皆可欣赏。其技法是先将多余的部分锯去，粗雕出主体和陪衬部分的轮廓，再从上至下，由表至里，逐层凿削，先粗雕，后细雕，再细刻磨光部分。圆雕多用于建筑饰件、礼祭器具以及家具陈设的局部构件。单独陈设于几架上的圆雕摆件出现较晚。

Altorelievo gives a three-dimensional effect that can be viewed from any angle of the image or object. The first step of this technique is to saw off unwanted parts and carve the rough shape of the main body and background. Then the details are carved layer by layer in a top-down and outside-in manner, following the sequence of rough shaping before elaboration. Altorelievo is often used in components of decorative utensils in buildings, ceremonial utensils and furnishings. Independent furnishings for display in altorelievo appeared very late.

展品：（清代）圆雕狮子 H1629-1、2 高30×宽21×厚14

Lions in altorelievo（Qing Dynasty）

第四组 通雕

Openwork

[组导言]

通雕又称透雕，是吸收沉雕、浮雕、圆雕和绘画的长处，融合变通而成，物像形体作多层次布局，物像之外的部位通体穿透。通雕层次的多少，视材质厚薄和雕刻技艺高低而定，少则二三层，多则四五层，超过七层者极为少见。通雕又分锯通雕、多层镂通雕两种形式。

This style is the evolution from intaglio, relief, altorelievo and painting, with multilayer composition of images and complete opening at positions without images. The number of layers, dependent on both the thickness of the wood and the skills of the woodcarvers, usually ranges from two to five, rarely more than seven. Openwork can take the form of either sawn openwork or carved openwork.

展品：（清代）锯通雕五福临门窗花 H329高50×宽37×厚2

Window grille in sawn openwork featuring the theme of Five Blessings Coming to the Family（Qing Dynasty）

说明： 锯通雕是先在裁截好的木料上画好图样，然后用钢线锯沿着图样的轮廓线锯出所需要的图像，再以雕刻刀修整锯通的洞眼并对图像略加雕饰而成。锯通雕制作简单便捷，宜于表现线条规整的单层景物。

Sawn openwork is made by sawing out the desired image with a steel wire saw along the contour line drawn on the wood in advance. This is followed by trimming of the holes and slight decoration of the images with a carving knife. This easily-achieved style is suitable for single-layer images with regular lines.

展品：（清代）多层镂通雕人物故事花板 BW48高45×宽20×厚9

Patterned plank in multilayer openwork featuring figures and stories（Qing Dynasty）

说明： 多层镂通雕是在裁整好的木料上作多层次雕刻，体积深厚、丰满，物像层层叠叠，交错穿插，具有玲珑剔透的效果。适合表现人物众多、情节复杂、场面宏大、景物丰富的题材，最能体现潮州木雕的雕刻水平和艺术特色。

Multilayer openwork is the carving on various layers of the same piece of wood, creating rich, in-depth, overlapping and interwoven images and an exquisite effect. Suitable for themes with numerous figures, complicated plots, grand views and rich scenery, this style is the best representative of the level and characteristics of Chaozhou woodcarving.

第四单元 制作工序

Work Process

[单元导言]

潮州木雕的制作有一系列的工艺程序，以髹漆贴金木雕为例，其制作过程可分为整料、起草图、上草图、凿粗坯、细雕刻、髹漆贴金等六道工序。

The production of Chaozhou woodcarving follows a series of procedures. Take lacquered and foil-coated woodcarving for example, the process undergoes six steps: material preparation, drafting, printing, rough shaping, fine carving and coating.

图片：整料

Material preparation

说明： 整料就是根据装饰部位和雕刻题材挑选合适的木料，对于大件器物，如难以找到完整的木料或者为了降低成本，可采取变通的办法，将几块材料拼接在一起。

This involves the selection of suitable wood according to the position and theme of the desired carving. In case of difficulty to find a complete timber for a large utensil, or in need of cost reduction, connection of several pieces can be accepted as an alternative.

图片：起草图 （须修底、重新排版）

Drafting

说明： 指雕刻之前，根据装饰部位、雕刻要求及所用材料等具体情况，构思并画好图稿，一般用毛笔以白描手法绘制。对于多层次的镂空雕刻，起草图时要深思熟虑，照顾到各个层次。

Before carving, the desired images are drafted in black ink with a drawing brush on a piece of paper according to the position, theme and material of the desired carving. Special care is necessary for multilayer openwork so that different layers can be taken into consideration.

图片：上草图 （须修底、重新排版）

Printing

说明： 上草图的传统方法是在草图的反面用柔软的木炭或灯烟描绘一遍，然后准确地把图纸压在需要雕刻的木料上，用手均匀地压抹，图案即可印在木料上。现在多采用复印的办法，将草图的复印件直接贴在木料上，按图雕凿，方便快捷，省工省时。

The traditional way is to trace the lines on the back of the draft with soft charcoal or lamp black and then press the paper against the prepared wood. Pressing and rubbing the paper with even force from the hand will leave the drafted pattern on the wood. The modern way is to directly paste the photocopied draft on the wood and follow the lines in carving. This easier way saves efforts and time.

图片：凿粗坯

Rough shaping

说明： 上好草图后，即开始雕刻的第一道工序----凿粗坯，打凿出作品的大体轮廓和结构。打凿时，一般是由上至下，由表及里。要考虑木材的质地纹路，讲究构图布局，注意人物景观的比例和景物体积容量。还要考虑沿厚度方向每层的厚薄安排。凿粗坯是很关键的一道工序，决定着作品的成败，故多由经验丰富的老艺人亲自把关。

After printing comes the first step of real carving. Rough shaping yields the basic contour and structure of the carving in the top-down and outside-in sequence. Consideration is taken of the quality and texture of the wood, the theme of the carving, the scale and size of the scenery and images, as well as the thickness of each layer. Rough shaping is an essential step that decides the outcome of the carving, and consequently it is usually done by experienced woodcarvers.

图片：细雕刻

Fine carving

说明： 在粗坯定形的基础上，先将外层的形体修削平滑，再深入内层，完成人物神态、衣饰装扮、树木枝叶、脉络等细部雕刻，完善作品。

With a rough shape, the outer surface of the images is to be trimmed and smoothed first, followed by the refining of the inner layers as well as elaboration of the details such as expressions and manners of human figures, clothes and ornaments, twigs, leaves and venations. This brings the carving to perfection.

图片：髹漆贴金　　Coating

说明：髹漆贴金是潮州木雕最常见的装饰手法，即在雕刻工序完成后，在器物表面髹涂漆料三遍以上，然后上再涂上一层金胶漆，放入特设的漆房晾干，待金胶漆层将干未干之时，在无风的场所，用软刷将金箔逐片擦粘在木雕表面上，敷贴金箔的木雕作品具有金光闪闪、豪华富丽的装饰效果。

Lacquering and foil coating is widely applied in Chaozhou woodcarving. After the carving steps, the surface of the utensils lacquered and coated with foil when the lacquer is half dry, which brings a glittering and glowing effect to the article. The coating process usually takes six steps: curing, filtering, filling, painting, drying and coating.

第三部分 艺术篇

Art

[部导言]

潮州木雕经过一代又一代艺人的实践和摸索，不断吸收其它门类艺术的精华，熔中国传统文化和地方民俗文化于一炉，并迎合潮汕人的审美情趣和生活需求，逐步形成了题材丰富、构图饱满、精巧细腻、玲珑剔透、金碧辉煌的艺术特点，成为中国民间传统木雕的一朵奇葩。

Having been practised and explored by generation after generation of woodcarvers, Chaozhou woodcarving has absorbed the essence of other forms of art, combined traditional Chinese culture and local folk culture, and catered to the sense of beauty and needs of life of the Chaozhou-Shantou people. All these craftsmanship and grand look，efforts have contributed to the artistic features of a broad range of themes, richness and subtlety of details, delicate and elaborate design, exquisite which make Chaozhou woodcarving a most beautiful flower in traditional Chinese folk woodcarving.

第一单元 丰富多彩的题材内容

Variety of Themes

[单元导言]

潮州木雕题材广泛，内容丰富，除了民间广泛流传的历史典故、戏剧故事、人物山水、吉祥图案等传统题材以外，还包括人们喜闻乐见的地方风物、民间传说、民俗生活等内容，具有浓厚的生活气息和鲜明的地方特色，概括起来可分为三大类，即人物类、自然物像类、几何图案类。

The variety of themes in Chaozhou woodcarving not only includes such traditional themes as stories from history, plays, human figures, landscapes and auspicious patterns, but also includes local productions and scenery, legends and folklores as well as customs and the life of ordinary people, which gives it a strong sense of life and local characteristics. These themes can be categorized into three major types, i.e., human figures, natural images and geometric patterns.

第一组 人物类

Human Figures

[组导言]

人物类题材包括民间广泛流传的历史典故、戏剧曲艺、民间故事、神话传说以及现实社会生活等方面。特点是以人物为中心，具有一定的故事情节，符合传统的伦理道德观念，既可满足人们的审美需求，又具有成教化、助人伦的作用。

This type of theme includes stories from history, plays and operas, novels, legends and folklore, fairy tales and myths as well as various aspects of real life. The common feature of these themes is to focus on human beings. As they entail certain stories in line with traditional moral standards, they not only cater to people’s sense of beauty, but also help to enhance moral teaching.

展品：（清代）通雕郭子仪庆寿花板 H233 高72×宽47×厚5

Patterned plank in openwork featuring the story of Guo Ziyi Celebrating His Birthday（Qing Dynasty）

说明： 郭子仪庆寿是潮州木雕的传统题材。郭子仪为唐朝大将，今陕西华县人，以武功累官至天德军使兼九原太守，因平定安史之乱有功，拜为中书令，封汾阳郡王。相传有七子八婿，均为朝廷大员，每逢庆寿，隆重非常。郭子仪享寿84岁，官运亨通，子孙满堂，在封建社会被尊为“富贵寿考”、“繁衍安泰”的象征。

This is a traditional theme in Chaozhou woodcarving. Guo Ziyi was a general in the Tang Dynasty ,a native of today’s Huaxian County in Shannxi, who military exploits won him the position of Governor of Tiande Province and Prefect of Jiuyuan Prefecture. His contributions in the pacification of the Rebellion of An Lushan and Shi Siming promoted him to Prime Minister and the honorary title of King of Fenyang County. It is said that Guo had seven sons and eight sons-in-law, all high officials of the imperial court. Therefore, celebration of Guo’s birthday was grand. As Guo died at the age of 84, enjoyed high positions and had a lot of offspring, he was seen as a symbol of “wealthy and longevity” and “multiplication and peace” in the past.

展品：（清代）金漆木雕耕织图花板 （一对）H470 高70×宽15×厚6

Gilt wood plank featuring the pattern of farming and weaving（Qing Dynasty）

展品：（清代）金漆木雕渔樵耕读花板 H1131 高40×宽17×厚3

Gilt wood plank featuring the patterns of fishing, wood chopping, farming and learning（Qing Dynasty）

展品：（清代）通雕人物故事花板 H448 长49×宽29×厚9

Patterned plank in openwork featuring figures and stories（Qing Dynasty）

第二组 自然物像类

Natural Images

[组导言]

自然物像类题材是指以动植物、山水风景等自然景物以及人们日常使用的各类器具什物作为主体。或直接描绘刻划，或按一定的主观意念，以自然为母本，创造出不同寓意的各种吉祥图案，从侧面反映了人们崇拜祖先、追求富贵、祈求吉祥、向往功名以及忠、孝、节、义等传统思想观念。

This kind of theme features natural images such as animals and plants, landscape and scenery, as well as various utensils used in daily life. These images are either directly depicted or transformed according to certain conceptions into various auspicious patterns with different significances. They are the indirect reflection of traditional worship of ancestors, pursuit of wealth and honor, longing for position and reputation, as well as approval of such merits of loyalty, unrighteousness, integrity, and filial piety.

展品：（清代）通雕鹤鹿同春花板 H267 长68×宽45×厚4

Plank in openwork with patterns of cranes and deer in spring（Qing Dynasty）

展品：（清代）通雕松竹绵羊花板 H910 长35×宽18×厚3

Plank in openwork with the pattern of pine, bamboo and sheep（Qing Dynasty）

展品：（清代）通雕花卉瓜果纹花板 H246 高76×宽35×厚5

Plank in openwork with patterns of flowers and fruits（Qing Dynasty）

展品：（清代）通雕鱼藻纹花板 H994 长28×宽15×厚2

Plank in openwork with patterns of fish and algae（Qing Dynasty）

展品：（清代）通雕鲤鱼跳龙门花板 H252 长70×宽39×厚4

Patterned plank in openwork featuring the tale of Carp Leaping the Dragon’s Gate（Qing Dynasty）

第三组 几何图案类

Geometric Patterns

[组导言]

几何图案类题材是指由点、线以及正方形、三角形、六角形、圆形等几何形体组合成具有审美价值的图像。主要用于门窗、横披、格窗以及多层镂通雕的“地子”。主要形式有：步步紧、拐子纹、回纹、套环、龟背纹等，雕刻手法以锯通雕为最多，具有较强的装饰效果。

These are patterns consisting of such geometric shapes as dots, lines, squares, triangles, hexagons and circles in aesthetic combination. Mainly applied to doors, windows, horizontal hanging scrolls, panes, and the background of multilayer openwork, the major patterns include overlapping squares, zigzagging lines, looping lines, overlapping circles and linking hexagons. Sawn openwork is the commonest carving style, which enhances the decorative effects of the carving.

展品：（清代）几何纹花板 CW30 H360 长70×宽50×厚6

Plank with geometric patterns（Qing Dynasty）

展品：回纹窗花 CW33长82×宽34×厚5

Window grille with looping line

展品：几何纹窗花 CW34长 100×宽55×厚5

Window grille with geometric pattern

第二单元 形式多样的构图布局

Diversity of Composition

[单元导言]

潮州木雕善于充分利用空间，物像平列铺陈，不作或少作重叠，各个物像清晰可见。惯于将不同时空的人物或场景安排在同一个画面中。画面结构常作对称布局，主体物象居中，次要物象作左右或上下对称安排，具有构图丰满、布局匀称、和谐庄重的艺术特点。其构图布局可概括为三种形式：格律体构图、平视体构图、立视体构图。

Full use of space is an advantage of Chaozhou woodcarving. The images are mostly laid out on the same plain with little or no superposition, so that each image is conspicuous. In the same manner, figures or scenes of different time and space are placed in the same frame, usually a symmetric one, with the major image in the middle and secondary images arranged symmetrically to the four sides. This brings rich composition, regular layout and harmonious and solemn air to the carving. There are three types of composition in Chaozhou woodcarving: metrical composition, isometric composition and perspective composition.

第一组 格律体构图

Metric Composition

[组导言]

格律体构图是以曲、直、方、圆等几何形体为架构，在规矩中求变化，通过巧妙构思，从上下、左右、大小、主宾、虚实等方面灵活安排，创造出千差万别又结构严谨的图案，具有交代清楚、脉络分明、均衡匀称、节奏感强的特点。

This composition is based on the basic arrangement made up of geometric shapes, curved, straight, square or round ones. Upon elaborate planning, transformation is made to the regular shapes in their vertical position, transverse position, size, focus, salience, etc., which creates varied though precisely structured patterns. Such a composition features clear narration, logical arrangement, balanced scale and strong rhythm.

展品：（清代）通雕单凤朝阳帐顶 H263 长42×宽42×厚3

Curtain top in openwork featuring the pattern of a phoenix facing the sun（Qing Dynasty）

展品：（清代）通雕夔龙蝙蝠纹窗花 H253-2 长50×宽37×厚2

Screen in openwork with patterns of vases, flowers and archaic dragons（Qing Dynasty）

展品：（清代）通雕瓶花夔龙纹屏风门肚 H251 长74×宽43×厚2

Door panel in openwork featuring the patterns of vase and archaic dragon（Qing Dynasty）

展品：（清代）通雕九蝠捧寿龛门肚 H315 长68×宽40×厚4

Shrine door panel in openwork with the auspicious pattern of nine bats delivering longevit（Qing Dynasty）

说明：这件门肚以民间传统的福寿吉祥为主题，高浮雕的菱花形开光（俗称“蟹壳”）内通雕一“寿”字，并以蝙蝠、葫芦瓜等围绕衬托，开光外四角饰以蝙蝠纹，取“代代福寿”之意。作品构图丰满，布局匀称，具有浓厚的富贵吉祥气氛。

This shrine door panel is designed with traditional auspicious theme of longevity and happiness .The diamond reserved panel is carved with a Chinese character “Shou”(longevity) surrounded with bats and gourd patterns at the corner , implying "Happiness ". It has a strong atmosphere of wealth and good fortune , full in composition and symmetry in layout.

第二组 平视体构图

Isometric Composition

[组导言]

平视体构图是把物像的个性、特征加以概括提炼，适度夸张变形，突出轮廓特征，然后将其形像用排比重复的方式安排成一个平面，无远近透视，形像的重心在一条视平线上，作平面处理。构图自由，富于装饰性，多用于自然物像类题材。

This is a non-perspective composition, which gives prominence to generalized and exaggerated features of images and arranges them on a plain in a repeated array. The focus of image is on a single eye line, which decides the plain. Such a free and decorative composition is often used for natural images.

展品：（清代）通雕喜鹊牡丹花板 H1019 长84×宽17×厚4

Plank in openwork with the pattern of magpie and peony（Qing Dynasty）

展品：（清代）通雕茶花喜鹊花板 H1027 长69×宽20×厚4

Plank in relief with the pattern of camellia and magpie（Qing Dynasty）

展品：（清代）通雕莲花鹭鸶纹花板 H541 长80×宽17×厚8

Plank in openwork with the pattern of lotus flowers and bitterns（Qing Dynasty）

第三组 立视体构图

Perspective Composition

[组导言]

立视体构图是在平视体的基础上，作散点透视，以大观小，空间不受透视的限制，根据需要对衬景进行灵活取舍，突出人物主体。其具体表现手法主要有两种：一是主体居中，画面向两边同时倾斜，多用于人物故事类题材；二是同时看物像的左右侧面，倾斜度小于45°，多用于浮雕博古花鸟等纹饰。

The perspective composition of Chaozhou woodcarving is essentially cavalier perspective based on isometric composition, which aims to give prominence to the main figure through adaptive selection of background scenery. This is achieved in two major ways. One is to place the main figure in middle with the background sloping to both sides, which is often used for figures and stories. The other is to distinguish the side views of images with a slope of smaller than 45 degrees, which is often used for ancient patterns and patterns of flowers and birds.

展品：（清代）金漆木雕人物故事花板 H1127 长66×宽20×厚6

Gilt wood plank featuring the patterns of figures and stories（Qing Dynasty）

展品：（清代）通雕赵云救阿斗花H1115 长66×宽20×厚6

Plank in openwork featuring the story of Zhao Yu Saving A’Dou（Qing Dynasty）

展品：（清代）通雕人物故事门肚 H264 高80×宽60×厚6

Door panel in openwork featuring the pattern of figures and stories（Qing Dynasty）

第三单元 灵活多变的艺术手法

Adaptability of Artistic Skills

[单元导言]

为迎合人们的审美趣味，并使不同的装饰部位均能达到理想的观赏效果，木雕艺人经过长期的实践，摸索出多种独特的艺术处理手法，如周身布饰、巧设路径、合理夸张等。

To cater to the aesthetic needs of people and achieve ideal effects at different positions of decoration, woodcarvers have created various unique skills through ages of practice, such as spread decoration, artful cohesion and exaggeration.

第一组 周身布饰

Spread Decoration

[组导言]

潮州木雕追求饱满繁复的效果，其中以清代鼎盛阶段的木雕作品最为显著，人物、景观、花鸟等题材常常布满整个装饰面。

Rich and complicated composition is the pursuit of Chaozhou woodcarving, especially in its prospering days. The frame of a woodcarving is often spread over by figures, scenery, flowers and birds, etc.

展品：（清代）金漆木雕人物故事神龛门肚 H250 长74×宽43×厚2

Gilt wood shrine door panel with design of figures and stories（Qing Dynasty）

展品：（清代）金漆木雕仙人花卉博古纹神龛门肚H308长69×宽43×厚5

Gilt wood shrine door panel with design of figures of celestial beings, patterns of flowers and ancient patterns（Qing Dynasty）

展品：（清代）金漆木雕花卉博古纹神龛门肚 H270 长62×宽40×厚5

Gilt wood shrine door panel with design of flowers and ancient patterns（Qing Dynasty）

第二组 巧设路径

Artful Cohesion

[组导言]

为了在有限的装饰面上表现尽可能多的情节内容，木雕艺人往往按照故事情节的发展顺序，截取典型的画面并将其分成几个部分，排列成“之”字形或“S”形，并且注意处理好人物神情、动态的相互呼应和时空过渡，从而组成一个有分有合的整体。

In order to contain as much plots as possible in a limited frame, woodcarvers often select typical events from a story according to its development and divide it into several scenes arranged in a zigzag or S-shape. The expressions and actions of figures in different scenes correspond to each other as the time and place continue themselves, creating a cohesive story with independent parts.

展品：（清代）通雕黄飞虎反五关龛楣花 H1241 长39×宽19×厚2

Gilt Wood shrine head in openwork featuring the story of General Huang Feihu Fighting out of Five Passes（Qing Dynasty）

展品：（清乾隆）金漆木雕“七贤进京”屏风门肚 H245 高74×宽37×厚5

Gilt wood door panel featuring the story of Seven Scholars Going to the Capital fro Imperial Examinations(Qianlong Period of the Qing Dynasty)

说明： “七贤进京”是潮州木雕艺术的著名题材，它把潮州历史上不同时期科举登第、进京为官的七位乡贤的故事融合浓缩在一起，寓海滨邹鲁连科登甲之意。潮州七贤有二说，一为前七贤，即宋代的许申、张口、刘允、林巽、王大宝、卢侗、吴复古；一为后七贤，即明代的林大钦、翁万达、萧端蒙、郭之奇、黄奇遇、许国佐、罗万杰。

Seven Scholars Going to the Capital for Imperial Examinations is a popular theme in Chaozhou woodcarving. The stories of seven scholars passing the imperial examinations and assuming office in the capital in different periods of history are told together for the auspicious connotation of consecutive success in the imperial examinations. There are two versions of the seven scholars, one comprising Xu Shen, Zhang Kou, Liu Yun, Lin Xun, Wang Dabao, Lu Dong and Wu Fugu in the Song Dynasty, the other including Lin Daqin, Weng Wanda, Xiao Duanmeng, Guo Zhiqi, Huang Qiyu, Xu Guozuo, Luo Wanjie in the Ming Dynasty.

第三组 合理夸张

Adequate Exaggeration

[组导言]

潮州木雕惯于采取合理的夸张手法，突出表现雕刻题材的动人之处，增加艺术感染力。其夸张处理主要体现在对人物动作、体态的刻划上，强调动势，用动作来表现人物内心。人物刻划不追求正常比例，常常突出头部，头大身小，人大景小，增强了整体装饰力度。

Exaggeration is a common skill used in Chaozhou woodcarving to give prominence to the affecting part of the expressed theme, thus enhancing the impressive power of the work. Exaggeration is mainly carried out in the actions and manners of figures with an emphasis on movement, through which the inner world of figures is exposed. Normal scale is neglected in the depiction of figures, often with an emphasis on the head. The large head in contrast to the small body and the large figures on the background of the small scene adds to the effect of overall decoration.

展品：（清代）通雕人物故事花板 H639、H640 各长45×宽20×厚8

Plank in openwork featuring the patterns of figures and stories（Qing Dynasty）

展品：（清代）王茂生进酒神龛门肚 H347-1 长74×宽43×厚2

Shrine door panel featuring the story of Wang Maosheng Presenting Wine（Qing Dynasty）

说明： 《王茂生进酒》取材于潮剧传统剧目，大意为：薛仁贵因平辽东有功，被封为平辽王，衣锦还乡之日，大宴宾朋，其救命恩人王茂生家贫如洗，无钱买酒，夫妇俩只好抬汾河水一瓮前来庆贺。薛仁贵不忘救命之恩，与王茂生开怀畅饮。此件反映了王茂生夫妇抬“酒”前来庆贺的情景，路径清楚，层次分明，人物神态适度夸张，充满戏剧色彩。

The story is based on the plot of a traditional Chaozhou opera. General Xue Rengui was titled King of Liao Pacification by the emperor as an award for his contributions in the pacification of East Liao rebellion. Returning to hometown, he invited a lot of guests to celebrate this honor. Wang Maosheng, who once saved Xue’s life, was as poor as a church mouse, who didn’t have any money to buy wine . Therefore, Wang and his wife had only to carry an urn of water from the Fenhe River to Xue’s house as his present. The general, however, treasured the favor Wang had done him and drank all the water with him. This work shows the scenes of Wang Maosheng and his wife carrying their “wine” to Xue’s house. The scenes are presented in clear sequence and logical arrangement, with exaggerated expressions and theatrical effect.

第四组 数艺并施

Combined Techniques

[组导言]

潮州木雕往往集雕刻、髹漆、贴金、绘画等多种工艺于一身，综合应用，数艺并施，色彩艳丽，豪华庄重，在中国木雕艺术中自成一格。

Various techniques such as carving, lacquering, coating and drawing are combined in Chaozhou woodcarving in a comprehensive way, which gives it a colorful, magnificent and solemn style, accounting for its uniqueness among Chinese woodcarving.

展品：（清代）金漆木雕人物花卉嵌书画小围屏 H351 高85×宽160×厚3

Small gilt wood enclosing screen with patterns of figures and flowers and inlaid with calligraphy and paintings（Qing Dynasty）

展品：（清代）金漆木雕群狮漆画人物故事图菱形馔盒 H735 高29×宽22×厚14

Gilt wood diamond food container with patterns of lions and figures（Qing Dynasty）

第四单元 独具特色的总体装饰

Unique Overall Decoration

[单元导言]

潮州木雕非常注意木雕器物或场景性木雕装饰的总体设计，在满足实用功能的前提下，注意从结构的安排、空间的分割、题材的选择、色彩的搭配、构图布局的协调等多方面进行周密设计。其总的特点是讲究整体对称均衡、和谐协调，具有豪华而又庄重的总体风格。其总体装饰主要有黑漆装金、五彩装金、本色素雕三种。

Overall design of utensils and scenic decoration has attracted great attention in Chaozhou woodcarving. Under the prerequisite of meeting practical needs, careful consideration is given to the arrangement of structure, division of space, selection of themes, collocation of colors and the adjustment of composition. The general features are symmetric and balanced composition, harmonious effect and magnificent and solemn style. The overall decoration of Chaozhou woodcarving takes three major forms: foil coating on black lacquer background, foil coating on colorful background and natural color woodcarving.

第一组 黑漆装金

Foil coating on black lacquer background

[组导言]

在雕刻部位贴饰金箔，而在雕刻部位以外的空间（即“地子”）髹涂黑漆或黑色推光漆，色彩对比鲜明，风格华丽庄重，是潮州木雕常见的装饰手段。

Carved positions are coated with gold foil against the background of lack lacquer or polished black lacquer. Stark in color contrast and magnificent and solemn in style, this is a common decorative form in Chaozhou woodcarving.

展品：（清代）金漆木雕花鸟人物故事神椟H693 高46×宽38×厚21

Gilt wood shrine featuring the pattern of flowers, birds and figures(Qing Dynasty)

说明：该神椟雕刻技法多样。椟门正背面均镂通雕精美纹饰。门肚采用多层镂通雕的手法，刻潮州七贤进京故事，以“之”字形布局，生动地刻画了潮州七贤策马扬鞭，日夜兼程进京赶考的情景。椟内背板为磨金漆画山水人物图，亭内文人墨客吟诗作对，路上一官人在侍从的护卫下策马前行，小桥流水、山石亭台，以小景致营造大空间。整座神椟造型庄重，装饰华丽。

Different techniques are used for carving this shrine. Both sides of the doors are decorated with fine patterns in sawn openwork. Multilayer carved openwork is used for carving door panels featuring the story of Seven Scholars Going to the Capital for Imperial Examinations in a zigzag shape, which vividly depicts the scene of seven scholars of Chaozhou whipping horses on for imperial examinations. The interior of the shrine is decorated with gold-shined lacquer paintings .The shape is solemn. The decoration is elegant.

展品：（清代）金漆木雕瓜叶纹梁架饰件 H545 长29×宽21×厚6

Gilt wood ornaments of beam mounting with the pattern of melon leaves（Qing Dynasty）

第二组 五彩装金

Foil coating on colorful background

[组导言]

雕刻部位作贴金装饰，其余空间则以大红大绿或紫红、粉黄等颜色作彩绘装饰，互相衬托，具有金碧辉煌的效果。

Carved positions are coated with gold foil against the background of colorful paintings, which set off each other and create a magnificent effect.

展品：（清代）浮雕仙姬送子图花板 H367 长92×宽49×厚3

Screen door plank in relief featuring the story of a Fair Ji Delivering a Baby from Heaven （Qing Dynasty）

展品：（清代）浮雕状元及第花板 H366长92×宽49×厚3

Plank in relief featuring the story of Ranking First in the Imperial Examinations（Qing Dynasty）

第三组 本色素雕

Natural color woodcarving

[组导言]

保留木雕材质的本色，不加油漆，或仅在器物边缘加上油漆，作为衬托，使作品的自然纹理和人工雕削清晰显露，风格朴素净雅。主要用于围屏、小神龛、薰炉罩等器物装饰，为数不多。

This is carving on natural wood without lacquer or on utensils lacquered only on the edge as setoff. Such a treatment maintains the natural grains of the wood and the clear signs of the carving process, creating a simple and neat style. Natural color woodcarving is scarcely applied and is mainly found in the decoration of such utensils as large screens, small shrines and incense burner covers.

展品：（清代）素雕薰炉罩 H722 长32×宽32×厚42

Natural color wood incense burner cover（Qing Dynasty）

展品：（现代）素雕蟹笼 H633 长50×宽27×厚18

Natural color wood crab cage（Modern）

第四组 漆画菁华

Lacquer Painting

[组导言]

漆画是潮州木雕器具的一种常见装饰手法，方法是先在漆料中按比例混入颜料并调匀，然后用画笔蘸颜料直接在经过髹漆处理的装饰部位进行绘画。常见的漆画形式有描金漆画、磨金漆画、彩漆画等。精细华丽的漆画与雕刻贴金等装饰手法相结合，相互映衬，精彩生辉。

Lacquer painting is a common method of decoration in Chaozhou woodcarving. Pigment is mixed evenly into lacquer in a certain scale and painted to desired positions with a drawing brush. According to the material used, lacquer painting is usually categorized into gold-traced lacquer painting, gold-shined lacquer painting and pigmented lacquer painting, etc. The decorative methods of Chaozhou woodcarving are various, often featuring the combination of lacquer painting and coating, which achieves the effect of mutual setoff.

一、 描金漆画

Gold-traced lacquer painting,

说明： 在光素的漆面上，用红漆绘好画面，待红漆将干而未全干略带粘感时贴上金箔或涂抹金粉，然后罩透明漆，经推光后即可。工艺讲究的描金漆画，要在罩透明漆之前，用细毛笔蘸特制的“洗漆水”，在主体纹饰的轮廓线上清洗一次，从而突出主体，增强画面的空间感。

The desired images are painted in red lacquer on smooth lacquered surface, on which gold foil or powder is applied while the red lacquer is nearly dry with a little stickiness. The coated surface is then covered with a layer of transparent lacquer and polished. In more demanding cases, a special lacquer solvent is applied to the contour lines of the images with a fine brush, so that more salient images and stronger stereoscopic effect are achieved.

展品：（清代）描金漆画人物山水、花鸟诗文薰炉罩 H724 长24×宽24×高31

Incense burner cover with gold-traced lacquer painting of figures, flowers, birds and poems（Qing Dynasty）

图片：描金漆画“运畴高升”图

二、 磨金漆画

Gold-shined lacquer painting

说明： 磨金漆画是用松脂油调漆加金粉，在光素的漆面上涂绘画面，晾干后用木炭或磨石夹水打磨，使画面光亮平滑即可。多装饰在寿屏、屏风门、神龛、柜橱、馔盒、糖果架等器物的局部。

The images are painted on smooth lacquered surface with the mixture of lacquer, turpentine and gold powder. Upon drying, the images are shined and smoothed with charcoal or holystone in water. This kind of painting is often used to decorate screens, shrines, cabinets, food containers and candy shelves.

展品：（清代）磨金漆画菱形馔盒 H734 高46×宽38×高18

Diamond food container with gold-shined lacquer painting（Qing Dynasty）

三、 彩漆画

Pigmented lacquer painting

说明： 在推光漆板上先用画笔画出纹样，然后用漆绘笔粘彩漆料，以平涂法分别填入红、绿、黄等色，再用特制的铁笔开线，画好后罩上透明漆即可。彩漆画写实性较强，配色复杂多样，工艺要求较高，耗工费时，故不太流行。

Images are painted on the smoothed lacquered plank with a drawing brush, and then pigmented lacquer is spread onto the images for coloring, after which a special iron pen is used to trace the contour lines. The painting is finished with a layer of transparent lacquer. The pigmented lacquer painting is not popular as it features realistic images, complicated colors, demanding craftsmanship, which consumes extra labor and time.

展品：（清代）金漆木雕彩漆画菱形馔盒 H732 长26×宽23×高34

Diamond food container with pigmented lacquer painting （Qing Dynasty）

四、 铁线描漆画

Iron-wire-traced lacquer painting

说明： 铁线描是潮州漆画艺术的一种独特工艺，其方法是在描金漆画、磨金漆画或彩漆画的基础上，用特制的铁笔在画面上刻划出人物、山水、器物等的轮廓和细部，使画面更加细腻逼真，因所刻划的线条细如铁线，故统称为铁线描漆画。如与磨金漆画结合，则称为磨金铁线描漆画；与彩漆画结合则为彩绘铁线描漆画。

This is a unique decorative technique in Chaozhou woodcarving. A special iron pen is used to trace the contour lines or details of figures, landscapes and objects in ready-made gold-traced, gold-shined or pigmented lacquer paintings to achieve an exquisite and lifelike effect. As the traced line is as small as an iron wire, the painting is called iron-wire-traced lacquer painting. Such a painting on the background of a gold-shined lacquer painting is called a gold-shined iron-wire-traced lacquer painting, and a pigmented iron-wire-traced lacquer painting on the background of a pigmented lacquer painting.

展品：（清代）金漆木雕菱形馔盒 H784 长41×宽17×高38

Gilt wood diamond food container（Qing Dynasty）

说明： 盒盖外表作黑色推光漆处理，以金漆绘饰“汾阳世美”图、人物山水风景和喜上眉梢图，并以娴熟的铁线描工艺刻划细部，层次分明，人物栩栩如生。

The cover of the box is lacquered in black and smoothed, on which spreads the gilt paintings of The Family of King of Fenyang, figures and landscapes and the “magpies and plum blossoms” (symbol of merriment) pattern. The details of these paintings are traced with an iron wire to achieve the effect of clearly demarcated layers and lifelike figures.

展品：（清代）磨金铁线描长方形馔盒 H751 长36×宽16×高41

Rectangular food container with gold-shined iron-wire-traced lacquer paintings （Qing Dynasty）

图片：磨金铁线描人物风景图

图片：磨金铁线描羊城风景图

第四部分 器用篇

Utilization

[部导言]

明清以来，潮州木雕日趋流行，广泛应用到建筑装饰、礼祭器具、家居陈设等各个方面并以其精湛的技艺、华丽的气派而成为潮汕地区广大民众普遍追求的社会时尚。

With an increasing favor of decorative woodcarving among the Chaozhou-Shantou people in the Ming and Qing Dynasties, woodcarving was widely applied According to its use and function, Chaozhou woodcarving can be put into three categories: architectural decorations，ritual utensils and furniture placement. Colorful and magnificent woodcarving works became popular in the Chaozhou-Shantou areas.

[设计提示]

实物展品约70件（套），辅助展品有建筑模型、照片、图表等，同时配以多媒体一套，可模拟演示建筑饰件、礼祭器具、家具陈设等三大类木雕代表性作品的结构、组合及实际应用。

本部分为展览亮点之一，建筑饰件以模拟复原的方式加以展示，场景复原则采用开放式设计，力求逼真，使观众有身临其境之感。设计上要求布局合理，风格协调，使展品与环境自然融合，注意环境气氛的营造，既要便于观众参观，又要考虑展品的安全保护。

第一单元 建筑饰件

Architectural Decorations

[单元导言]

潮州木雕在祠堂、庙宇、民居等传统建筑上的应用十分流行，其中以祠堂木雕装饰最为精美，门厅、庑廊、拜亭、梁枋、屐头、挑檐、柱头、门楣、屏风、隔扇、门窗、栏杆、缠罩、檐板等部位大多饰以精巧细腻、金碧辉煌的木雕构件，整座建筑显得富丽堂皇，令人叹为观止。

Chaozhou woodcarving is widely used in traditional buildings such as ancestral temples, Buddhist temples and folk houses. Decorative woodcarving is most exquisite in ancestral temples, with elaborate and magnificent woodcarving components in hallways, corridors, worship halls, beams, shoe ends, roof overhangs, column capitals, door heads, screens, partition boards, doors, windows, balusters and clapboards, which adds to the magnificence and charm of the whole buildings.

图片：潮汕民居群落（黑白效果）

Local-style dwelling houses of Chaozhou-Shantou

吊旗：

图片：祠堂拜亭各部位名称

Name of each part of the worship pavilion in the Ancestral Temple of Huang Jilue

图片：祠堂正座梁架各部位名称

Name of each part of the beam mounting in the Ancestral Temple of Huang Jilue

展品：（清代）木雕龙纹雀替 H2019 长93×宽25×厚11

Carved queti (column bracket) with the pattern of dragons （Qing Dynasty）

展品：（清代）木雕彩绘鱼龙（一对） 长80×宽25×厚11

Carved ichthyosaurs in color painting（Qing Dynasty）

展品：（清代）金漆木雕狮托 H1571 长35×宽22×厚10

Lion-shaped gilt wood cushion（Qing Dynasty）

展品：（清代）木雕建筑构件 H1639－1 长34×宽22×厚9

Carved components （Qing Dynasty）

展品：（清代）木雕必登花甲建筑构件 H1576 长45×宽17×厚13

Carved components with the auspicious pattern of Succeeding in the Imperial Examinations（Qing Dynasty）

展品：通雕花鸟纹梁下饰件 H1815 长151×宽24×厚10 Ornament under the beam in openwork with the patterns of flowers and birds

展品：通雕花鸟纹梁下饰件 H1826 长151×宽24×厚10 Ornament under the beam in openwork with the patterns of flowers and birds

展品：（清代）通雕八骏图梁下饰件 H1776 长114×宽25×厚10

（配梁架底纹模拟复原）

Ornament under the beam in openwork with the pattern of the Eight Steeds（Qing Dynasty）

展品：（清乾隆）木雕彩绘穿插枋（一组4件） H2063-2066 各长61×宽22×厚7 （与图版配合展示）

Penetrating tie with woodcarving and colored painting (Qianlong Period of the Qing Dynasty)

展品：（清代）金漆木雕花胚（14件，分2组，左右相向）

第一组：

H2223高9.3宽50厚6.5

H2224高23.2宽50.8厚6.1

H2225高18宽32厚6.3

H2227高17宽32厚5.5

H2229高20宽29厚6.8

H2233高19.8宽42厚6

H2234高21.5宽43厚7

第二组：

H2221高25宽49.3厚7

H2222高20.8宽48.7厚6.5

H2226高19宽29厚6.3

H2228高19.8宽29.3厚6.8

H2230高19.8宽29.7厚6.5

H2231高20宽38厚7

H2232高19.5宽36.2厚7

（配梁架底纹模拟复原）

Gilt wood flower embryo（Qing Dynasty）

第一组

第二组

第二单元 礼祭器具

Ritual Vessels

[单元导言]

潮汕地区民间祭祀习俗隆重热烈，游神赛会活动热闹非凡，婚庆、寿礼等人生礼仪性活动铺张豪华，礼仪、祭祀、游神等活动中所用的器具十分讲究，古色古香、金碧辉煌的金漆木雕器具既可显示财富地位，又可渲染活动气氛，因而大派用场，神龛、神亭、神轿、神椅、香几、宣炉罩、糖枋架、寿屏、果碟、馔盒等礼祭器具无不精雕细刻，装潢华丽，成为潮州木雕的重要门类。

The Chaozhou-Shantou people have a special enthusiasm for solemn ancestor worshiping ceremonies, crowded god worshiping parades, as well as extravagant weddings, birthdays and other personal celebrations. Utensils used in these events are all carefully selected according to certain considerations. Consequently, antiquated and magnificent gilt wood decoration enjoys great popularity as it is not only a symbol of wealth and position, but also a promoter of atmosphere. Shrines, booths, sedan chairs, armchairs, tables, incense burner covers, candy shelves, screens, fruits trays and food containers used in worshiping ceremonies are all finely and elaborately carved and colorfully decorated, which account for yet another category of Chaozhou woodcarving.

展品：（清代）金漆木雕小神龛 H596 高44×宽31×厚9

Small gilt wood shrine（Qing Dynasty）

说明： 神龛是潮汕民间供奉祖先神位的特制神器，形制有大小之分，大者称神龛，小者俗称椟仔。整体造型庄重，制作精巧，是潮州木雕制品中做工最讲究的一种，以金漆木雕装饰最常见，以硬木制作的则多为素雕。神龛内部常作厅堂格式，置一小屏风，小屏风上多饰以描金漆画，或只是漆书或雕刻文字，叙述祖先的姓名、生卒年月及生平功德。有的内部设梯级，以供奉更多的神位。祭祀祖先时，打开神龛门，在神龛前摆放蜡烛、馔盒和供果，焚香烧烛，拜祭如仪。

The shrine is a special worshiping utensil in which the tablets of ancestors are housed. It comes in either a large or a small size, each featuring solemn composition and exquisite craftsmanship, which makes it one of the most exquisite utensils in Chaozhou woodcarving. In most cases, shrines are decorated in gilt woodcarving, yet those made of hard wood are usually decorated with natural color carving. The interior of a shrine takes the form of a hall with a small screen inside, which is decorated with gold-traced lacquer paintings, lacquer calligraphy or inscriptions about the name, dates and major events of the worshiped ancestors. Some shrines have stages inside so that the spirit of more ancestors can be housed. Before the worshiping ceremony, the shrine door is opened, in front of which candles, a food container and fruits are placed. Then the worshiping ceremony starts with the burning of incense and the lighting of candles.

图片：大神龛各部位名称

Name of each part of the big shrine

展品：（清代）神轿 H1892 长74×宽74×高100

Sedan Chairs（Qing Dynasty） （与H1895组合展出）

说明： 神轿是大型祭祀器物，平时放置于祠堂或寺庙中，举行迎神祈福活动时，将神像安放于交围椅上，由青壮年男子抬着参加游行。神轿一般由轿围屏、交围椅、中盘、轿脚和底座五部分构成。中盘两侧各有一前后贯通的方孔，平时以大小相同的木雕饰件封闭以保持外观完整，举行迎神活动时取下，将轿杠从方孔中穿过，便可抬着神轿参加游行。

These large worshiping utensils are stored in the ancestral temples or Buddhist temples at ordinary times and used only in parades and pray activities, when the sculpture of a certain god is placed in the enclosed armchair inside the sedan and carried by young men in the parade. The sedan chair is usually made up of five parts: the enclosing planks, the closed armchair, the frame, the legs and the base. On either side of the frame there is a square hole running from the front to the back, which is clogged with decorative woodcarving of the same size at ordinary times to keep an intact external appearance and opened in parades so that shoulder poles can be thrust through the holes to carry the sedan.

展品： （清代）神亭 H1891 长82×宽78×高214

Worshiping pavilions（Qing Dynasty）

说明： 神亭是大型祭祀器物，平时放置于祠堂或寺庙中，每年初春举行迎神祈福活动时，将神像安放于交围椅上，由青壮年男子抬着参加游行。

These large worshiping utensils are stored in the ancestral temples or Buddhist temples at ordinary times and used only in parades and prayers in early spring, when the sculpture of a certain god is placed in the closed armchair inside the booth and carried by young men in the parade.

展品：（清代）薰炉罩 H704 长26×宽26×高32

Incense burner cover（Qing Dynasty）

说明： 又称宣炉罩、香炉罩，由底座和罩盖两部分组成，形状以六角形和方形最常见。大多作髹漆贴金装饰，素雕者较少。罩盖顶部开孔，四周嵌饰雕刻精美的花板，有人物故事、花鸟、水族、博古等纹饰。平时用薰炉罩将薰炉罩起来，陈设于家中厅堂和书房的几案上。每逢喜庆之日或祭神祀祖时，便将薰炉取出，置于罩盖上，点燃炉中的香料，香气缭绕，满室生香，令人心旷神怡。

Made up of a base and a cover, this utensil comes most commonly in hexagon or square. Most covers are lacquered and coated with gold foil with few exceptions of natural color carving. Cover is holed on the top while the sides inlaid with exquisite planks with patterns of figures, stories, flowers, birds, aquatic animals, and ancient patterns. At ordinary times, the incense burner is covered up and displayed on small tables in the hall or a study. In the case of celebrations or worshiping ceremonies, the burner is taken out and placed on the cover . The wreathing incense then fills the whole room and relaxes people’s mind.

展品：（清代）金漆木雕香炉狮 H1641 长58×宽33×高70

Gilt wood lion-shaped incense burner（Qing Dynasty）

说明： 香炉狮是一种祭祀器具，造型似鼎，盖钮多雕成狮子形，故称为香炉狮。香炉内空，四周留有孔隙，祭祀时将香料放在铜炉内点燃，放进香炉狮内，香气从四周的孔隙缭绕而出，满堂生香。

This worshiping utensil in shape of ding, is an ancient cooking vessel, with a lion-shaped cover knob, hence it is named as lion-shaped incense burner. The burner has an empty body with holes on the sides. In worshiping ceremonies, incense is lit in a bronze burner, which is then placed in the body of the incense lion. The incense then wreathes out from the holes of the burner to fill the whole room.

展品：（清代）长方形馔盒 H744 长60×宽21×高42

Rectangular food container（Qing Dynasty）

说明：馔盒是祭神祀祖时放置贡果的器物，由底座、盒盖和果盘三部分组成，有长方形和菱形两种。盒盖顶部髹黑漆，四面嵌饰人物故事、吉花祥鸟、珍禽瑞兽等内容的木雕花板和图案纹样枋栏，精雕细刻，玲珑剔透，华丽庄重。平日陈设于家中厅堂的几案上，祭祀时将馔盒置于神案上或神龛前，打开馔盖，将底座和果盘叠放在盒盖上，摆上贡果，祭拜如仪。

The food container comes in either rectangle or diamond and serves as a container for fruits in worshiping ceremonies, made up of a base, a cover and a tray. The cover is painted in black lacquer on the top with inlaid carved planks with design of figures, stories and patterns of auspicious and precious flowers, birds and animals. The woodcarving is elaborate and exquisite with a magnificent and solemn air. The food container is displayed on the table in the hall at ordinary times . It is placed on the sacrificial table or in front of the shrine before the worshiping ceremony. The cover is opened and the base and tray are placed on it. Then the worshiping ceremony starts with the loading of fruits on the tray.

展品：（清代）金漆木雕三牲贡盘 H1873-2长45×宽80×高47

Gilt wood sacrificial tray（Qing Dynasty）

说明： 三牲贡盘为祠堂内使用的祭祀器具，多为六角形，由底座、托盘两部分组成。底座四周多镶嵌精细的木雕贴金饰件，题材有人物、花鸟、博古等多种。装饰考究，制作精美。祭祀时，将贡盘置于大神龛前，摆上猪牛羊三种祭品，进行祭拜。

This worshiping vessel is used in the ancestral temple. It usually comes in hexagon and consists of a tray on a support. The base is usually inlaid with exquisite carved ornaments coated with gold foil with such patterns as figures, flowers and birds and ancient patterns. In the worshiping ceremony, the sacrificial tray contained with the three sacrifices of pig, ox and goat is placed in front of the large shrine.

展品：（清代）金漆木雕糖枋架 H635长52×宽13×高59

Gilt wood candy shelf（Qing Dynasty）

说明： 糖枋架是祭祀用具的一种，造型多种多样，雕刻精致，大多作髹漆贴金装饰，显得豪华而又庄重。祭祀时置于神龛前的香几上，上面摆放米方糖（潮汕民间常见的一种食品）。

This is one of the worshiping wares in various designs with exquisite carving. Most candy shelves are lacquered and coated with gold foil, which creates a magnificent and solemn air. In the worshiping ceremony, the candy shelf with fried rice candy (a common candy in the Chaozhou-Shantou area) is placed on the table in front of the shrine.

展品：（清代）金漆木雕烛架 H1622 长39×宽17×高22

Gilt wood candle stand（Qing Dynasty）

说明： 烛架是祭神祀祖时燃插大红蜡烛的架子，形制似插屏的屏座，四周嵌饰人物故事、花鸟、博古等题材的木雕花板。架上开有两个小孔，各插一枝漏斗状的铜管。祭祀时，将烛架放在神案上，插上点燃的大红蜡烛，满堂生辉。

The candle stand is a stand for red candles in the worshiping ceremony shaped like a screen stand. The sides of the stand are inlaid with carved planks with figures, stories, flowers, birds and ancient patterns. Two small holes are made in the stand, into each of which a funnel-shaped brass tube is fit. In the worshiping ceremony, the candle stand loaded with burning red candles is placed on the sacrificial table and to light up the whole hall.

展品：（清代）金漆木雕满堂红 H1858 高160厘米

Gilt wood yipinhong candle stand（Qing Dynasty）

说明： 满堂红是一种祭祀器具，形似扁瓶，外表多浮雕花鸟、博古等纹饰，中间穿孔插一木柱，柱上设锡盘，祭祀时作擎烛用。平时置于香几两端，祭祀时明烛高擎，满堂红艳，故又称为满堂红。

This worshiping ware is shaped like a flat vase with patterns of flowers ,birds and ancient patterns in relief on its surface. A stick with a tin tray on the top is fit into a hole in the middle. The stands are placed on both sides of the incense table at ordinary times and serves as candle.

展品：（清代）金漆木雕嵌书画小寿屏 H356 高92×宽160×厚4

Small gilt wood birthday screen inlaid with calligraphy and paintings（Qing Dynasty）

照片：游神赛会　　　　　　（３张）

God Parade Fair

第三单元 家具陈设

Furniture placement

[单元导言]

潮汕民间的家具及陈设用品常以金漆木雕作装饰，色彩红艳，气氛祥和。其主要品类有眠床、几案、桌椅、橱柜、梳妆台、纸煤筒、灯芯筒以及小屏风、镜屏、圆雕狮子等摆设物。

Furnishings in Chaozhou-Shan folk houses are usually decorated with gilt woodcarving uniquely featuring red color and peaceful air. These furnishings include beds, tables, chairs, cabinets, toilet tables, cans of paper strings for starting fire, lamp wick cans and such small things as small screens, mirror stands, and carved lions in altorelievo.

展品：（清代）金漆木雕茶担 H1885长50×宽37×高78

Gilt wood tea carrier （Qing Dynasty）

说明： 茶担是一种礼仪用具，平时存放于祠堂，每逢民间举行游神赛会活动时用来挑担茶水，随游行队伍巡游，向负责游神活动的人员提供茶水，同时亦借此显示游神队伍的不凡气派。

The carrier is for ceremonial use only. It is stored in the ancestral temple at ordinary times and used to carry tea in worshiping parades. The tea carrier is taken in the parade to supply tea to the one in charge of the parade, which also shows the importance of the worshiping parade.

展品：（清代）金漆木雕茶橱 H1881高107×宽80×厚36

Gilt wood tea cabinet（Qing Dynasty）

说明： 茶橱是潮汕人存放茶具的橱柜。潮州人喝茶讲究，存放茶具的橱柜同样考究，装饰华丽。茶橱设有门两扇，内设层板和小抽屉，可放置茶杯、冲罐、茶盘、茶船、茶叶罐、泥炉、火炭等物。茶橱门及橱两侧是装饰的重点部位，通常镶嵌多件透雕花板作装饰，题材以人物故事、社会生活、花鸟水族等最为常见。茶橱多陈设于民居厅堂，既实用又美观。

Tea cabinet is for the storage of tea sets by the Chaozhou-Shantou people. They have many considerations not only in tea drinking but also in where to store the tea sets. The colorfully decorated tea cabinet has two doors, which open into shelves and drawers for storing teacups, teapots, tea trays, saucers, tea cans, mud burners and charcoal. The doors and sides of the cabinet are the focus of decoration, which is usually inlaid with patterned planks in openwork often with design of figures, stories, social customs and patterns of flowers, birds and aquatic animals. Tea cabinet is often displayed in the hall of a folk house, for both practical use and furnishing.

展品：（清代）金漆木雕灯芯筒 H1605 高23×宽16×厚7

Gilt wood lamp wick can （Qing Dynasty）

说明： 灯芯筒是一种腹部较浅、用于存放灯芯草的器具，一般挂于离油灯较近的墙壁上。其造型多种多样，做工亦有精粗之别。富裕人家的灯芯筒，做工十分考究，具有很强的装饰性。

This is a shallow can for storing lamp wicks usually hanging on the wall near an oil lamp. The can varies in design and craftsmanship. Lamp wick cans in rich families are exquisitely made for strong decorative effects.

展品：（清代）通雕纸枚筒 H1602-1、2 长31×宽7×厚4

Can of paper strings for starting fire in openwork（Qing Dynasty）

说明： 纸枚筒是插放“纸枚”（引火材料）的器具，状如筷子筒，竖式，深腹，多挂于书斋内的中堂两侧，一边一个，其雕刻题材多种多样，做工精细，令人喜爱。

Paper strings for starting fire is for storing paper strings ,like a chopsticks tube. Such vertical deep can is often hung on either side of the hall or in a study. Themes of carving vary in exquisite craftsmanship, making it adorable.

展品：（清代）金漆木雕凉枕 H616 长50×宽14×高14

Gilt wood summer pillow（Qing Dynasty）

说明： 凉枕是夏天使用的一种枕具，形制不一，枕面多为竹制，且留有缝隙，凉爽透气。这是富裕人家使用的凉枕，四周有雕刻装饰，做工精细，多置于炕床上使用。

This kind of pillow is used in summer with varying designs. The surface of the pillow is often woven of bamboo with spacing, which lets through air for coolness. This is the summer pillow from a rich family with decorative carving on the sides in exquisite craftsmanship. It is for use in the bed.

图片：厢厅家具组合（几案1、八仙桌1、圆凳2） （图片待选）

说明： 这是过去潮汕地区大户人家陈设于南北厅（厢厅）或书房的家具组合，由几案、方桌和圆凳组成。几案正面嵌饰通雕“七贤进京图”花板以及狮子、大象、葡萄等纹饰；方桌饰通雕花鸟纹和浮雕缠枝葡萄纹。圆凳则在束腰及腿足部位饰以流畅自然的缠枝葡萄等纹饰。整套家具除雕刻纹饰作贴金装饰以外，其余部位均髹以红褐色漆，色彩和谐，庄重而不呆板，富有生气。

Gilt wood furnishing set of incense table, square table and round stools

This used to be the furnishing set in the side halls or study of a rich family in Chaozhou-Shantou areas, consisting of an incense table, a square table and round stools. The front of the incense table is inlaid with a patterned plank in openwork featuring the story of the Seven Scholars Going to the Capital for Imperial Examinations as well as patterns of lions, elephants and grapes. The square table is decorated with patterns of flowers and birds in openwork and patterns of intertwined grapevines in relief. The round stools are decorated with patterns of naturally intertwined grapevines in the contracted waist and legs. Apart from the coated carving, the rest of furnishing is painted in harmonious reddish brown lacquer, creating a solemn yet lively air.

展品：（清代）金漆木雕如意 H684长34×宽10×高8

Gilt wood ruyi （Qing Dynasty）

[场景复原] 4. Antique Imitation

一、 潮汕祠堂正厅

Hall of a Temple in Chaozhou-Shantou Area

展品：大屏风门 H1902 通宽424×高300

Large screen door

展品：大神龛 高300×宽190×厚90

Large shrine

展品：金漆木雕八仙桌 长83×宽83×高85

Gilt wood square table

展品：（清代）金漆木雕夔龙花鸟纹大香几 H1994 长245×宽25×高135

Large gilt wood incense table

说明： 大香几是祠堂庙宇和大户人家使用的一种高足条案式家具，与几床（四方桌）搭配，长年陈设于大神龛前或厅堂上，几上可摆设香炉、烛台、馔盒、贡盘、镜屏、花瓶等礼祭用品。香几的大小视厅堂的宽窄而定。

This is a high and long-shaped table used in temples and rich families. In collocation with a square table, it is constantly placed in front of the large shrine or in the hall and loaded with such worshiping utensils ,such as incense burners, candle stands, food containers, sacrificial trays, mirror stands and vases. The size of the table varies with the floor space of the hall.

展品：（清代）金漆木雕圆凳 H376-1、2 直径33、高55

Gilt wood round stool（Qing Dynasty）

展品：（清代）金漆木雕一品红 H1857 座高83×宽39

Gilt wood yipinhong candle stand（Qing Dynasty）

展品：（清代）描金漆画寿屏 H350 高85×宽130×厚3

Birthday screens with gold-traced lacquer paintings（Qing Dynasty）

展品：（清代）菱形馔盒 H762 长48×宽12×高28

Gilt wood diamond food container（Qing Dynasty）

展品：潮绣过厅彩 DW45 长400×宽50

Chaozhou embroidery hanging

展品：（清代）金木雕小神龛 H714

Small gilt wood shrine（Qing Dynasty）

二、 潮汕传统民居卧室

Bedroom of local-style dwelling house of Chaozhou-Shantou

展品：金漆木雕眠床 长210×宽160×高200

Gilt wood bed

展品：红漆大橱 DW47

Red lacquer wardrobe

展品：二叠橱（连座）

Cabinet

展品：红漆方椅头

Square red lacquer chair

展品：红漆春凳

Red lacquer stool

展品：红漆小条凳

Red lacquer stool

展品：公婆椅（带几）

Straight-backed chair

展品：梳妆台 DW48

Dresser

展品：面盆架 DW49

Washstand

展品：梳妆盒 DW50

Dressing box

展品：潮绣床楣 DW51

Chaozhou embroidery bed cloth

展品：潮绣桌围 DW52

Chaozhou embroidery tablecloth

展品：盛格一担 DW54

Hand-basket

展品：漆皮箱三个 DW55

Patent leather case

展品：“五桶”一套 DW56

Bucket

二、潮汕传统民居厢厅场景

Hall of traditional local-style dwelling house of Chaozhou-Shantou

展品：描金漆画炕床 H2246 长223宽162高122

Gold-traced lacquer bed

展品：金漆木雕凉枕 H616

Gilt wood pillow

展品：金木雕古董柜 H1880

Gilt wood cabinet

展品：金木雕挂落

Gilt wood hanging panel

展品：纸煤筒 H625

Can of paper stings

展品：灯芯筒 H1605

Lamp wick can

展品：薰炉罩 （H728重复使用，需另配）

Incense burner cover

展品：潮绣过厅楣

第五部分 欣赏篇

More Exhibits for Appreciation

[设计提示]

展示木雕精品约70件（套），要根据展厅的具体情况及展品的特点定位展示，并采取灵活多样的展示手法，或单独展示，或分组摆设，展品的观赏角度、积木展架的匹配、照明效果等细节方面要精心设计，力求加强观赏效果。展品数量可根据展厅空间适当增减。

展品：（道光三十年）磨金漆画西湖风景图大寿屏　H1949高285×宽528

（提示：拟在三夹层通柜作单面展示）

Large birthday screens with gold-shined lacquer paintings of the west lake scenery (30th year of the Daoguang Period, Qing Dynasty)

说明：寿屏共１２屏，正面大屏肚以金漆手书贺寿序并题写寿联一副：“海屋筹添堂上祥开寿域，云璈乐尧庭前彩戏春风 。”大屏肚设内、外两层方栏，内方栏为通雕缠枝花卉纹；外方栏由上、下横肚及左右两侧企肚组成，其中上横肚及左右企肚饰通雕人物故事，神态各具，形象生动。下横肚为浮雕梅、兰、桃、菊、牡丹等名花异卉。下门肚则以变形云蝠纹作开光，开光内浮雕博古、瑞兽纹。

寿屏背面装饰尤为精彩。外方栏饰浮雕博古炉瓶，内方栏则嵌饰通雕缠枝花卉，大屏肚内以黑色推光漆为地，绘饰精细的铁线描金漆画，其中首、尾两屏为八仙骑八兽，其余10屏全景式地描绘了杭州西湖的山光水色、风景名胜，其娴熟精湛的金漆画工艺令人赞叹。

There are twelve parts in total of the birthday screens. Congratulations and a couplet are hand-written in the front panels of the screen doors . Double-layer square columns are set in the panels of the screen doors. The internal square columns are designed with interlocking sprays . The external square columns compose of upper and bottom transverse panels as well as left and right vertical panels . The upper transverse panels as well as the right and left vertical panels are decorated with figures and stories in openwork, lifelike and vivid. The bottom transverse panels are decorated with plum , orchid, peach, chrysanthemum, peony in relief. The bottom panels are reserved with clouds and bats design. Ancient patterns and auspicious animal patterns are decorated within the reserved panel.

The decorations of the back are particularly exciting. Ancient patterns of stoves and vases in relief are decorated in the external square columns. The internal columns are decorated with interlocking flowers. Gold-traced lacquer painting against the background of black smoothed lacquer is painted in the large panels of the screen doors . The first and last screens are painted with the Eight Immortals on Auspicious Animals . The rest ten screens are painted with the beautiful West Lake Scenery in Hangzhou. The superb and skillful craft of the painting is impressive.

展品：（同治七年）磨金漆画豳风图大寿屏H1948高296×宽528

（提示：拟在三楼作双面展示）

Large birthday screens with gold-shined lacquer paintings featuring the artistic conception of the Book of Songs (7th year of the Tongzhi Period, Qing Dynasty)

说明：寿屏共分１２屏，正面屏心为祝寿序全文，外围设四重方栏，均以金漆画作装饰，其题材由内至外依次为：连枝花卉、回纹拱寿、人物故事及夔龙锦地纹。下屏肚绘人物山水图并围以花卉纹方栏。贺寿文为晚清时期广东著名人物何如璋撰写。寿屏背面分为大小80多个装饰面。大屏肚漆画由10个条屏式的画面组合而成，以《诗经·豳风·七月》一诗作题意，生动地描绘了耕种、收获、渔猎、纺织、筑屋、制陶、冶铁、郊游、祭祀等生产生活场面，反映了在传统的自然经济制度下，乡村生活一派祥和、人们安居乐业的美好景象。屏肚外围亦设四重方栏，饰以祥禽瑞兽、蔬菜佳果、江海水族、博古瓶花、书卷画册等纹饰。作品取景宏阔，人物神态生动，场景细腻逼真，具有极强的艺术感染力，是潮州木雕艺术的杰出之作。

The birthday screens are divided into twelve parts. The front center is the congratulation text surrounded with four-layer square columns decorated with gold-traced lacquer paintings with themes of connected branches of flowers, looping lines supporting Chinese character “Shou”(Longevity ),figures ,stories and archaic dragon on brocade ground. The bottom panels are painted with figures and landscape surrounded by square columns with floral design . The congratulation text is written by He Ruzhang ,well-known person in Guangdong in the late Qing Dynasty. The back side is divided into more than eighty decorative boards. The Book of Songs • Breeze • July is taken as the title of a poem ,vividly depicting a scene of production and life, such as cultivation, harvesting, hunting and fishing, spinning and weaving, building a house, making pottery , smelting, outing and worshiping . It reflects harmonious rural life in the system of traditional natural economy .The panels of the screen doors are surrounded by four-layer external square columns decorated with auspicious animals, vegetables and fruits, rivers and lakes, ancient patterns and unfolding paintings, etc. The work is designed with a broad view of lifelike and vivid characters , realistic and delicate scene, having a strong artistic appeal . It is a masterpiece of Chaozhou woodcarving art.

展品：（光绪十一年）金漆木雕廿四孝图大寿屏 H1969高316×宽528

（提示：H1969与H1932背靠背在三楼分别作单面展示）

Large gilt wood birthday screens featuring the stories of the twenty-four famous dutiful sons (11th year of the Guangxu Period, Qing Dynasty)

说明：此屏风为光绪十一年（1885）揭阳人蔡嗣华七十大寿时由其亲戚进献的贵重礼品。正面外枋栏嵌饰32件多层镂通雕花板，以人物故事、江海水族、瑞兽花鸟、博古炉瓶等为题材。中枋栏为通雕连枝花，内枋栏则饰以瑞兽花鸟间寿字纹。大屏肚以黑漆为地，手书祝寿文并贴以金箔。祝寿文由吏部拣选知县、丙子科举人蔡仲庸撰写，赐授修职郎、铨选儒学正堂、乙丑恩进士罗懋修手书。下屏肚嵌饰12件浮雕花板，首尾两件为人物故事，其余10件则浮雕博古瓶花、蝙蝠如意等寓意吉祥之物，而馔盒、宣炉罩、香炉狮、盛格等潮汕特有的礼祭用具亦赫然杂陈其间。整套寿屏形制巨大，题材独特，雕饰精细，豪华而庄重，且有绝对年代可考，殊为难得。

This screen was made in the 11th year of the Guangxu Period (1885) by relatives of Cai Sihua for his 70th birthday celebration. The front external square columns are decorated by thirty-two planks in multilayer openwork with themes of figures and stories ,auspicious animals ,flowers and birds ,as well as ancient patterns. The middle square columns are designed with connected branches . The internal square columns are decorated with flowers, auspicious animals, birds and stylized character “Shou”(Longevity). The hand-written birthday congratulation text is written with foil coating against the background of black lacquer in the panels of the screen doors. The bottom panels are inlaid with twelve planks in relief .The first and last ones are decorated with popular figures , stories. The rest ten are decorated with ancient patterns of vases , bats and ruyi. Special ritual vessels of the Chaozhou-Shantou areas, such as food container , incense burner cover, lion-shaped incense burner and hand-basket are displayed . The screens are large in shape , unique in theme ,fine in carving , luxury and solemn. With accurate date, it is quite rare and precious .

展品：（光绪十三年）金漆木雕描金漆人物博古花鸟纹大寿屏

H1932 高319×宽564

Large gilt wood birthday screens with design of figures, ancients patterns ,birds and flowers (13th year of the Guangxu Period, Qing Dynasty)

说明： 寿屏是举行贺寿仪式时由众亲友定制，送给寿主的贵重礼物，规格大小不一，屏数少则6扇，多则14扇，多为双数，单数者较少见。寿屏的装饰面一般分屏肚、方栏、横肚等部分，饰以题材多样的贴金木雕或金漆画，其中首尾两屏装饰最为精美。大型寿屏还配有一对精美的屏头狮，设置在屏风左右两侧，显得更加气派。门肚的正面多手写或雕刻贺寿文（又称寿序）。贺寿文的末尾多题写献寿者姓名、籍贯、科举等第、功名记录、官衔职位及与寿主的关系。祝寿时，小寿屏一般设在神龛前的神桌上，大型寿屏则设在祠堂大厅上，呈“八”字形展开，寿屏前设筵席，大宴宾朋，充满喜庆气氛。

Birthday screens are a precious present made by relatives and friends for the host of a birthday celebration. The screens vary in size and number, which ranges from six to fourteen, usually in even numbers. The decorated surface of a screen is divided into the vertical panel, the square column, and the transverse panel, etc., which is decorated with gold-coated woodcarving or gold-lacquer paintings. The screens at both ends of a completely set are the most exquisitely decorated. Large birthday screens are accompanied by a pair of carved lions on both ends, which creates a grand air. Congratulations are often written or carved into the front panel of the screen doors, at the end of which are recorded the presenter’s name, his place of origin, his achievements in the imperial examinations, his titles and positions as well as his relationship to the host. In the birthday ceremony, small screens are usually placed on the sacrificial table in front of the shrine while large ones in the hall of the ancestral temple in an opening funnel shape. The banquet is then held for all the guests and friends in front of the screens, which add a festive atmosphere.

展品：（宣统三年）金漆木雕人物故事大寿屏 H1940 高303×宽540

（提示：拟在三夹层通柜作单面展示）

Large gilt wood birthday screens featuring figures and stories (3rd year of the Xuantong Period, Qing Dynasty)

说明：屏风为揭阳巨商吴子松后人为追念先祖创业之功所特制。全套共12屏，顶横肚、企肚、中横肚构成外枋栏，饰髹漆贴金通雕人物故事、江海水族、博古炉瓶等题材。内方栏饰花卉间寿字纹，中枋栏为松鼠葡萄纹。下屏肚为浮雕贴金人物故事图。垂角饰浮雕花卉纹。背面髹黑漆，无纹饰。二至十一屏大屏肚为金漆楷书吴子松家传全文， 由诰封奉直大夫、赏戴花翎、补用州判、谘议局议员、岁贡生陈乃勋撰写。诰授朝议大夫、赏戴花翎、候选知府、光绪辛卯科举人陈祺年手书。

The large birthday screens are specially made by decedents of Wu Zisong( a famous merchant of Jieyang) for commemoration of the ancestors . There are twelve parts in total . Transverse panels ,vertical panels compose of external square columns decorated with stories and figures , rivers and lakes ,as well as ancient patterns in openwork ,lacquering and foil coating. The internal columns are decorated with flowers and stylized character “Shou” (Longevity). The middle columns are decorated with design of pine ,mouse and grapes . The bottom panels are gold-traced painting of figures and stories in relief. Drooping angles are decorated with floral design in relief. The back is painted with black lacquer . The family story by Chen Naixun was handwritten by Chen Qinian in the panels of the screen door betweens the second and eleventh screens.

展品：（清代）金漆木雕大神龛门 EW12 H1979高280×宽105

Large gilt wood shrine door（Qing Dynasty）

（提示：与图片模拟复原大神龛）

说明：此神龛门采用多种雕刻技法以及髹漆贴金、描金等工艺制作而成。龛门内外均有装饰。除雕刻“竹报平安”、“一路荣华”、“六和同春”、“鹤寿松龄”等吉祥图案外，更有“王茂生进酒”、“郭子仪祝寿”等人物故事。漆画部分以推光漆为底，以描金工艺绘“六国同盟图”、“腾王阁图”等。龛门形制高大，雕饰精美，华贵庄重。

The combination of various decorative techniques, such as gold-traced lacquer painting, lacquering and foil coating are used for making the shrine door .In addition to the auspicious patterns of Report in a Letter Home , Everything Is Well, Proceed Smoothly without a Hitch ,Spring Is Everywhere ,stories of Wang Maosheng Presenting Wine, Gu Ziyi Celebrating His Birthday are carved . Gold-traced lacquer paintings of Six States Alliance and the Tengwang Pavilion are painted against the background of black lacquer . The shrine door is large in shape, magnificent and solemn .

展品：（清代）金漆木雕长方形馔盒 H754 高41×宽28×厚14

Gilt wood rectangular food container（Qing Dynasty）

说明：馔盒是潮汕地区民间传统祭祀活动中用于盛放祭品的器物，一般由底座、盒盖、果盘三部分组成，造型常见的有长方形和菱形（又称龟背形、榄形）两种。平时置于家中厅堂的几案上，祭祀时将馔盒摆放在神案上，取出果盘，盘上放供果，进行拜祭。此馔盒为长方形，束腰式器座饰以卷草纹，足下压圆雕卧狮，足间牙板为通雕喜鹊闹梅纹，五个小果碟作对称式排列，高低起伏，碟架四周通雕福、禄、寿三星及夔龙、鱼藻纹。盒盖四周为多层镂通雕人物故事图花板并围以通雕卷草纹枋栏。雕工精细入微，人物形象生动。

The food container comes in either rectangle or diamond and serves as a container for fruits in worshiping ceremonies in Chaozhou-Shantou areas, made up of a base, a cover and a tray. The food container is displayed on the table in the hall at ordinary times but placed on the sacrificial table or in front of the shrine before the worshiping ceremony, when the cover is opened and the base and tray are placed on it. Then the worshiping ceremony starts with fruits on the tray. This cover is rectangular with contracted waist base with design of grass scrolls. Lions are pressed under the feet . Patterns of Magpies on Plum Tree are carved between the feet .Five small fruits trays are arranged in symmetry. All sides of tray stand are carved with design of luck, official rank and salary ,longevity and archaic dragon ,as well as fish and algae in openwork . All sides of the cover are planks carved with design of figures and stories in sawn openwork, which are enclosed with design of grass scrolls in openwork .The woodcarving is elaborate and exquisite. The figures are lifelike and vivid.

展品：（清代）金漆木雕长方形馔盒 H750 高42×宽37×厚16

Gilt wood rectangular food container（Qing Dynasty）

展品：（清代）金漆木雕长方形馔盒 H738 长43×宽14×高28

Gilt wood rectangular food container（Qing Dynasty）

说明：馔盒以圆雕、通雕、髹漆贴金、金漆画等多种工艺制作而成，座足

饰压脚狮子，器座裙板、牙条作通雕装饰。“山”字形盒架四周饰通雕江海

水族图，架上置5个小碟。盒盖髹黑漆，前后两面设通雕花卉纹枋栏，内

饰铁线描金漆画人物故事图，人物五官、衣饰及山石草木的描绘无不精细

入微，画意浓郁。

The techniques of altorelievo, openwork ,foil coating and gold-traced lacquer painting are used for carving this container with lion-shaped feet under the base.

The base planks are carved in openwork. The stand in shape of Chinese

Character “山” with pattern of rivers and lakes in openwork. Five trays are

placed on the top of the stand . The cover is lacquered in black with carved

boards on both sides .Iron-wire-traced lacquer painting of figures and stories is

painted inside. Expressions and clothes of figures as well as mountains, grass

and plants are painted in detail. It is picturesque.

展品：（清代）金漆木雕长方形馔盒 H742 长30×宽16×高27

Gilt wood rectangular food container（Qing Dynasty）

说明：馔盒基座为层台式，四足外翻，足间饰通雕松鼠葡萄纹裙板，基座束腰部位饰通雕卷草纹。基座上设圆钱纹围栏，围栏内置带座果盘，盘座四面饰通雕人物故事。盒盖分别饰浮雕凤朝牡丹、博古瓶花及诗文，并围以连枝花草、金线等纹饰。装饰手法灵活多样，纹饰丰富，精巧雅致，独具匠心。

The base is in shape of platform with four feet turning outward. Patterns in openwork of squirrels and grapes decorate the parts between feet. The contracted waist of the base is designed with grass scrolls. The vertical panels with design of money are put on the base . Fruits tray with base is put within the vertical panels . The tray base is decorated with figures and stories in openwork. The cover is designed with phoenix facing a peony, ancient patterns and poems enclosed by connected branches of plants and gold lines. Decorative techniques are flexible and diverse. The patterns are rich, sophisticated, elegant and initiative.

展品：金漆木雕神椟 EW29 H695 高42×宽28×厚18

Gilt wood shrine

说明：神龛，是潮汕地区民间供放祖先牌位的礼祭用具。形制分大、小两种，大者叫龛，小者又叫神椟。大神龛多置于宗祠内，神椟一般置于家居厅内案几上。

该神椟采用描金漆画、多层镂通雕、浮雕等多种技法雕刻制成。两门亦分作六个部分装饰，传统的吉祥图案与人物故事兼有：牡丹花鸟、喜鹊闹梅、松鼠葡萄、灵芝花草，热闹、祥和的气氛扑面而来。

The shrine is a special worshiping utensil in which tablets of ancestors are housed. It comes in a large or a small size, featuring solemn composition and exquisite craftsmanship. The large one is often placed in the ancestral hall and the small one is often put on the table of the hall.

The techniques of gold-traced lacquer painting , openwork and relief are used to make the shrine. The two doors are divided into six decorative parts with design of traditional auspicious patterns ,figures and stories, such as peony ,flowers and birds, magpies on plum tree, squirrels and grapes, ganoderma and plants, lively and peaceful atmosphere rushing toward us.

展品：（清光绪）金漆木雕神椟 H709 高27×宽27×厚29

Gilt wood shrine（Guanxu Period,Qing Dynasty）

说明：该神椟综合运用了镂通雕、浮雕、沉雕和金漆铁线描漆画等多种工艺。底座为高束腰式，座下为膨牙腿，所嵌花板以“喜上眉梢”、“一路连科”等吉祥图案为题材。椟门正面以锯通雕花锦纹为地，上雕对联“奉政宣猷，贰守良辰资淑慎；思源报本，千秋俎豆荐馨香。”落款为“光绪庚寅年仲秋月敬书。”椟内设五扇推光黑漆小屏风，屏肚上以金漆手书纪念先祖功德的短文，四周嵌饰镂通雕花鸟、博古纹。做工精细考究，堪称上乘之作。

Various techniques, such as sawn openwork, relief, intaglio and iron-wire-traced lacquer painting are used for making the shrine. The base is in shape of contracted waist with inflating feet. Plank is decorated with traditional auspicious themes of the Look Very Happy, Consecutive Success in the Imperial Examinations . Shrine door panel is inscribed with a short memorial article surrounded with design of flowers, birds and ancient patterns in sawn openwork .The workmanship is exquisite, which can be rated as work of superior quality.

展品：（清代）金漆木雕神椟 H1882 高83×宽59×厚32

Gilt wood shrine（Qing Dynasty）

说明：该神椟形制与大神龛相近。椟门由１２个装饰面组成，主题纹饰为浮雕、通雕结合的教场比武图，在狭小空间内营造出激烈、紧张的比武场面，人物栩栩如生。龛内作台阶五级，每级红漆底上用金漆绘团寿字五个。台阶上置金漆画屏，饰以福禄寿三星、松鹿、松鹤、花蝶、鱼藻等纹饰。整件器物布局严谨，雕工精细，髹漆贴金工艺娴熟，金碧辉煌，华贵庄重。

The shape of shrine is similar to the large ones. The doors consist of twelve decorative parts with themes of Taking Part in Wushu combined relief with openwork , creating grueling and exciting scene and lifelike figures in a narrow space .There are five steps inside on which five gilt Chinese characters “Shou”(Longevity ) are painted on red lacquer ground . Gold-traced lacquer painting screens with design of the Three Stars (luck, high official and salary longevity), pine and deer, pine and crane, flower and butterfly, fish and algae are placed on the steps. It is magnificent, luxurious and stately with rigorous layout , fine craftsmanship and skillful coating technique.

展品：（清代）金漆木雕方形薰炉罩 H728 长35×宽16×高48

Gilt wood rectangular incense burner cover （Qing Dynasty）

说明：宣炉罩又称薰炉罩、香炉罩，由底座和罩盖两部分组成，造型以方形和六角形最为常见，雕刻十分精细，加上髹漆贴金或金漆画装饰，显得格外华丽，素雕者虽然较少见，但典雅庄重，别具特色。罩顶开孔，四周嵌饰雕刻精美的花板，有人物故事、花鸟、水族、博古等纹饰，雕工精细，制作精巧。平日置于家中厅堂和书房中的几案上，逢喜庆之日或祭神祀祖时，置宣德炉或小香炉于罩内，炉中燃烧香料，香气从罩顶的小孔和四周的孔洞缭绕而出，香气盈室，令人心旷神怡。

此宣炉罩为方形，四足外翻，足下垫小狮子，俗称“压脚狮”。足间四面裙板为精细的锯通雕花卉纹。底座四周围以通雕方栏。罩盖的四个立面通雕连枝花卉纹枋栏，内嵌人物故事、老鼠葡萄、梅兰竹菊等题材的通雕花板，精巧玲珑，美仑美奂。

Incense burner cover consists of base and cover, mainly in shape of square and hexagonal, carved finely, coated with gold or decorated with gold-traced lacquer painting, being especially gorgeous. The plain color ones are rare, but elegant, stately and distinctive. Cover is made of holes surrounded by carved planks with design of figures, stories, flowers, birds, aquarium and ancient patterns, fine and ingenious. It is normally placed on the table of the hall or a study. Incense burner is put in the cover on festivals, or worshiping ancestors. Spices are burning inside the burner, refreshing.

This cover is square with four feet turning outward and small lions under feet, commonly known as "pressure feet lions." All sides between the feet are carved with floral patterns in openwork. All sides of the base are square columns in openwork. All sides of the cover are carved with flowers inlaid with patterns of figures, stories, mouse and grapes, plum, bamboo and chrysanthemum, exquisite and attractive.

展品：（清代）金漆木雕方形薰炉罩 H703 长27×宽27×高34

Gilt wood rectangular incense burner cover（Qing Dynasty）

展品：金漆木雕方形薰炉罩 EW31 H706 长27×宽27×高32

Gilt wood rectangular incense burner cover

展品：金漆木雕方形薰炉罩 EW32 H771 长25×宽25×高31

Gilt wood rectangular incense burner cover

说明：潮汕地区的宣炉罩向以做工考究、装饰华丽而著称，木雕艺人极尽奇思巧艺之能事，根据用主的审美喜好，针对不同的装饰部位和题材，采用不同的雕刻技法加以表现。此宣炉罩四个立面分别采用了“文王访贤”、“鲤鱼跳龙门”、“喜鹊闹梅”、“福寿如意”等百姓喜闻乐见、家喻户晓的传统题材，工艺极为精湛，构图饱满，纤巧华丽。

Incense burner cover of the Chaozhou-Shantou areas is well known for its exquisite workmanship and magnificent decoration. Woodcarving artists try to be different by using different carving techniques according to the aesthetic preferences of the user, decorative position and themes. This cover takes the popular themes of King Wenwang Visiting Jiang Shang the Wisdom , Carp Leaping the Dragon’s Gate，Magpies on Plum Tree and Happiness ,Longevity and ruyi at all sides. The technique is extremely exquisite. The composition is full, fine and gorgeous.

展品：（清代）金漆木雕方形薰炉罩 H690 长26×宽26×高2

Gilt wood rectangular incense burner cover（Qing Dynasty）

展品：（清代）金漆木雕六边形薰炉罩 H723 长26×宽26×高3

Gilt wood hexagonal incense burner cover（Qing Dynasty）

展品：（清代）金漆木雕三牲贡盘 H380 长48×宽40×高33

Sacrificial tray（Qing Dynasty）

展品：（清代）金漆木雕糖果架 EW40 H765 长85×宽18×高44

Gilt wood candy shelf（Qing Dynasty）

说明：木雕艺人别出心裁地将糖果架设计成展卷式，通体以 黑漆隔条分作26个宽窄、大小不等的装饰块，嵌饰锯通雕、通雕、多层镂通雕花板，融人物、花卉、瓜果、博古、瑞兽等多种题材于一体。正面10个透窗呈对称式排列，使整体的装饰性和空间感大大增强，充分展示了木雕艺人的奇思巧艺。

Woodcarvers try to be different to design the candy shelf in unfolding type against the background of polished black lacquer. It is divided into twenty-six decorative boards by black lacquer lines inlaid with planks in sawn openwork, openwork, multilayer openwork, combining themes of figures, flowers, fruits, ancient patterns and auspicious animal into one. The ten windows in the front are arranged symmetrically, greatly enhancing the overall decorative effect and sense of space, demonstrating the special design and skill of woodcarving artists.

展品：（清代）金漆木雕糖果 H2032 长80×宽19×高60

Gilt wood candy shelf（Qing Dynasty）

说明：糖果架造型为双层牌坊式，呈弧形排列，前后均设六柱，正面为装饰重点，通体装饰了松鼠葡萄、夔龙含草、喜鹊闹梅、龙凤呈祥、福寿双星等多种题材的通雕花板。造型独特，构思巧妙，雕工精细。

The candy shelf is in double-arch type with curved arrangement of six columns . The front panels are decorated in openwork with squirrels ,grapes, dragon with grass, magpie on plum tree ,phoenix and dragon ,Double Stars (Luck and Longevity) , unique in shape, clever in plot and fine in craftsmanship.

展品：（清代）金漆木雕神轿 H1894 高115×宽85

Gilt wood worshiping sedan chair（Qing Dynasty）

展品：（清代）金漆木雕茶橱 EW45 H1865 高90×宽65×厚42

Gilt wood tea cabinet（Qing Dynasty）

说明：潮州素以“功夫茶”闻名，潮州人不但爱喝“功夫茶，而且放置茶具的茶橱也特别讲究。茶橱门及两侧镶嵌雕工精细的金漆通雕。橱门自上而下划分为上横肚、门窗、下横肚三个装饰面，分别雕饰人物故事、花草及动物等。此茶橱门窗为两个层面的通雕，表现武打场面的人物故事，人物神情刻划得活灵活现，利用树枝、屋顶等景物巧妙分层，使两个层面既连贯又有层次感。上、下横肚雕刻一群神态凶残的猛狮奇兽，以呼应武打中的人物。整个饰面构图丰满，立体感强。茶橱两侧为素面，橱内为两层平板隔架，隔架与橱顶之间设有两个精致的小抽屉，设置合理实用。

Chaozhou has a reputation for " Congou Tea " Chaozhou people are not only fond of drinking " Congou Tea”, but also care particularly about tea cabinet . Doors and sides of cabinet are carved in openwork . Doors are decorated with figures and stories ,flowers ,grasses and animals ,etc. The doors and windows of the cabinet are carved in openwork with figures and stories, lifelike and vivid . The upper and lower transverse panels are carved with auspicious animals. The entire composition is three-dimensional. The sides are plain in color .The two charming little drawers inside are reasonable and practical.

展品：（清代）金漆木雕茶橱 H1863 高93×宽75×厚31

Gilt wood tea cabinet（Qing Dynasty）

说明：茶橱门饰面为“S”型金漆通雕，取材历史故事“穆桂英挂帅”，以树枝、屋顶等景物自然形成三个层面，人物占的篇幅大，而景物较少，构图层次分明，人物栩栩如生，景物、人物互相对应。上、下横肚镶嵌“老鼠拖葡萄”、苦瓜、菊花等寓意吉祥的动物、花草。茶橱两侧饰面镶嵌变形柿蒂纹图案，工整美观。

Tea cabinet is carved in openwork in shape of "S", featuring the historic story of Mu Guiying in Command . The natural branches, and roofs formed into three levels. Figures occupy a large space and scenery takes less space. The composition is unity and coherence .The figures are lifelike. Scenery and figures are corresponded one another. The upper and lower transverse panels are inlaid with Mouse Dragging Grapes, auspicious animals ,flowers and plants ,such as bitter gourd and chrysanthemum. Both sides are inlaid with patterns of the calyx and receptacles of a persimmon, neat and beautiful.

展品：（清代）金漆木雕茶橱 EW47 H1879 长100×宽83×厚37

Gilt wood tea cabinet（Qing Dynasty）

说明：茶橱正面与侧面均镶嵌金漆通雕。两门窗饰面正中开光菱花形，内雕“八仙骑八兽”，开光之外四角以卷草纹填满，与外围镶嵌的卷草纹通雕枋栏柔和相连，似为一体。整个构图以突出开光部分为主，“八仙”与“八兽”神态逼真，具有较强的立体效果。橱两侧中间部分饰面为八宝花瓶，寓意平安富贵、吉祥如意。

The front and sides are inlaid with openwork woodcarving. The pattern of Eight Immortals on Auspicious Animals is carved in the diamond-reserved panel filled with grass scrolls patterns at the corner. The Eight Immortals and Eight Animals are lifelike with a strong three-dimensional effect. The middle parts of the sides are decorated with the Eight Emblems and vases ,meaning peace ,wealth and good luck.

展品：（清代）木雕锣鼓架 长 宽 高（补充尺寸）

Carved wooden support for gongs and drums （The Republic of China）

展品：（民国）喜鹊闹梅花板 （1对） H1368 各 长93×宽14×厚3

Gilt wood plank with the pattern of magpies and plum blossoms（ Republic of China）

说明：作品以纯熟的浮雕技法雕成，梅树枝干苍劲虬曲，梅花或含苞欲放，或灿然盛开；枝头上几只喜鹊或婷婷玉立，或振翅欲飞。一动一静，遥相呼应，闹意全出，令人如闻鸟的鸣唱、梅的幽香。作品构图疏朗，虽为雕刻而成，却颇有画意，堪称佳作。

Relief technique is skillfully used in this work. The branches of plum tree are vigorous. Plum blossom is ready to burst or in full bloom. A few magpies stand on the branches gracefully or are ready to fly .The composition is graceful and ease. Although it is carved, it is quite picturesque, rated as an excellent work.

展品：（清代）通雕花鸟纹花板(一组4件) H484 各长53×宽21×厚3

Plank in openwork with the patterns of flowers and birds （Qing Dynasty）

说明：作品采用通雕技法，细腻逼真地刻划了牡丹、莲荷、秋菊、山茶等名花，并以小鸟、丹凤、芦雁、秋蝉、蚂蚱等穿插、点缀其间，一派生机勃勃的景象。作品纤巧细腻，饱满繁复，玲珑剔透，充分展示了潮州木雕的艺术特色。

Openwork carving technique is used to carve flowers, such as peony, lotus, chrysanthemum and camellias delicately and vividly penetrated or dotted with birds, phoenix , goose, cicada and grasshopper , depicting a dynamic picture. The work is delicate and fine, full and complex, and beautifully wrought, demonstrating artistic characteristics of Chaozhou woodcarving.

展品：（清代）金木雕蟹篓（１对 H2165、H2166 长 宽 高（补充尺寸）

Gilt wood Crab-cage（Qing Dynasty）

展品：（清代）通雕鲤鱼跳龙门花板 H226 长70×宽38×厚4

Plank in openwork featuring the tale of Carp Leaping the Dragon’s Gate（Qing Dynasty）

说明：我国古代神话传说：每年春季有鲤鱼数千赴龙门，争相跳跃，越过者为龙，不能越者则为鱼。后以“鲤鱼跳龙门”比喻在科举考试中幸运及第。

According to the ancient Chinese myths and legends, every year thousands of carps in spring go to the Dragon Gate. The one who leaps becomes dragon .The one who fails is fish. Carp Leaping the Dragon’s Gate is a metaphor of succeeding in the imperial examinations.

展品：（清代）通雕五福临门花板（1对） H329-2 长56×宽28×厚4

Plank in openwork with the pattern of five blessings coming to the family（Qing Dynasty）

展品：（清代）金漆木雕人物故事轿围屏 H746 长160×宽45×厚8

Gilt wood enclosing planks of a sedan chair featuring figures and stories（Qing Dynasty）

说明：轿围屏是神轿装饰的重点部位，由7个构件榫接成马蹄形，安装在神轿交围椅的外围。此为轿围屏的展开图。图中可见7个构件的底部线脚均在同一条水平线上，顶部呈阶梯状，中间高，两端作对称式渐次降低。轿围屏的内面绘饰描金漆画，外面则嵌饰通雕花板，有“李白醉写番书”、“辕门射箭”、“加冠进爵”、“喜鹊闹梅”、“鲤鱼水藻”等题材，并环以连枝草纹枋栏。设计巧妙，雕工精细，人物生动逼真。

Enclosing screens are decorative components on a sedan chair made up of seven planks tenoned together around the closed armchair. These screens are decorated with plain gold-traced lacquer paintings inside. The outside serves as the main area of decoration inlaid with patterned planks in openwork, featuring the themes of Li Bai the Drunken Poet Writing a Letter of Credence in the Barbarian Language , Shooting an Arrow at the Military Camp Gate , Promotion to Higher Offices, Magpies on Plum Tree, Carps and Algae, etc. These patterns are exquisite in design, elaborate in carving and vivid in figures.

展品：（清代）金漆木雕纸煤筒 H1603－2 长29×宽10×高5

Gilt wood can of paper strings for starting fire（Qing Dynasty）

说明：纸煤筒是过去潮汕民间用于插放引火材料——“纸煤”的器具，状如筷子筒，多挂于书斋内的中堂两侧，雕刻题材多种多样，做工精细，令人喜爱。此纸煤筒以苦瓜为整体造型，作者并没有把瓜的全部外表雕刻出来，而只是精雕细刻瓜的尾部，以局部体现整体。同时，在其省去的瓜身部位及背板雕刻缠枝茂叶、小瓜等，使大瓜缠小瓜、瓜瓞绵绵寓意子孙世代相传的吉祥涵义。作品构思巧妙，寓意深刻。

Can of paper strings for starting fire , paper string device, is a material used by the Chaozhou-Shantou people to start fire in the early years. It likes chopsticks tube, hanging at the either side in a study . The carving themes vary . The craftsmanship is fine .It is loved by the people. This can of paper strings for starting fire is in shape of bitter gourd as a whole. The bigger bitter gourd wrapped the smaller ones, implying the auspicious meaning of many children . The plot is clever with full of implications.

展品：金漆木雕纸煤筒 EW69 H986 长22×宽8×高2

Gilt wood can of paper strings for starting fire

展品：（清代）金漆木雕长方形馔盒 H749 长37×宽16×高35

Gilt wood rectangular food container（Qing Dynasty）

说明：馔盒以镂空通雕髹漆贴金和金漆画做修饰，三弯外翻足束腰座，“山”字形碟架，前后两面作书卷式布局，一面饰通雕人物故事，另一面饰鹤鹿、博古纹。盒盖饰铁线描金漆画山水图和“鸿门宴”故事。

The container is decorated with techniques of openwork, foil coating and gold-traced lacquer painting .The base is in shape of contracted waist with feet turning outward . The tray stand is in shape of Chinese character“山”. The front and back sides are in type of unfolding book. One side is decorated with figures and stories in openwork and the other side is decorated with crane, deer and ancient patterns. The cover is decorated with an iron-wire-traced lacquer painting of landscape and the story of A Dinner at Hongmen .

展品：（清代）金漆木雕菱形馔盒 H785 长33×宽14×高30

Gilt wood diamond food container（Qing Dynasty）

说明：馔盒为菱形，台基式器座之下再设一层底座，基座束腰处饰通雕福禄寿三星、麻姑进酒等吉祥题材。盒盖饰描金漆画，一面为人物山水图，一面为上朝图。

The container is in shape of diamond. The base is in shape of contracted waist carved with the auspicious themes of the Three Stars (luck, official rank and salary ,longevity ), Fairy Magu Endowing Wine. The cover is decorated with gold-traced lacquer paintings. One side is Landscape and Figures Painting .The other side is Going to Court Painting.

展品：（清代）金漆木雕神椟门（双面展示） H1743 高38×宽32×厚3

Small gilt wood shrine door（Qing Dynasty）

展品：（清代）金漆木雕小神龛门（双面展示） H1714 高32×宽28×厚3

Small gilt wood shrine door（Qing Dynasty）

说明：椟门正面上下横肚通雕花鸟纹，门肚长方形，用一桌子将纹饰分两部分装饰，桌上刻瓶花、如意、花篮、铜鼎等博古纹饰，桌下刻丹凤、玉兔、蝙蝠、夔龙等祥瑞动物，整幅图给人以祥瑞、吉祥的感觉。门的背面上下横肚饰通雕花鸟纹，门窗在“亚”字形开光拱形面上锯通雕龟背纹、亚字形纹，中间以浮雕万寿菊、梅花相间，门肚在拱形面亚字形开光中浅浮雕两枝交缠的卷草纹形成如意头状，线条优美、流畅自然。雕工精细，疏密有致，髹漆贴金工艺好，在黑色推光漆的烘托下，金漆更显华丽。

The upper and lower transverse panels in the front are carved with patterns of birds and flowers in openwork. Door panels are rectangular decorated with a table that separates it into two parts. The upper part is carved with ancient patterns, such as vase, ruyi, flower basket and bronze ding. The lower part is carved with auspicious animals ,such as phoenix ,rabbit ,bat and archaic dragon. The whole design gives an auspicious sense. The upper and lower transverse panels at the back are carved with birds and flowers in openwork. The window griller is carved with turtle design .The middle transverse panels are carved with chrysanthemum and plum in relief. The door panel is carved with ruyi . The carving lines are beautiful, smooth and natural. The carving craftsmanship is exquisite and moderate against the background of black smoothed lacquer. It is resplendent and magnificent.

展品：（清代）金漆木雕神椟门（双面展示） H1702 高31×宽26×厚3

Small gilt wood shrine door（Qing Dynasty）

展品：（清代）金漆木雕描金漆画人物花鸟博古纹神龛门

H1755 高30×宽28×厚2

Large gilt wood shrine door with gold-traced lacquer paintings of flowers, birds and figures and ancient patterns（Qing Dynasty）

展品：（清代）金漆木雕对联花板（一对）H244高72×宽43×厚4厘米

　　　　（注：要求特别展示）

Gilt wood plank with antithetical couplet (Qing Dynasty)

对联窗花以多层镂通雕、浮雕和髹漆贴金等工艺制作而成，上、下联各雕蝙蝠衔梅、松鼠葡萄纹，其间穿插装饰缠枝葫芦、瓜瓞、石榴、佛手、牡丹、山茶花等纹饰作地子，浮雕行书对联并上黑漆推光，上联为：“家有现成题目曰父曰兄入则孝出则弟文章尽矣”；下联为：“人无别样工夫惟诚惟敬仰不愧俯不作学问全焉”。黑漆对联与贴金地子相映衬，格外醒目。行书联语似信笔而就，一气呵成，舒展流畅，堪称佳作。

Multi-layer openwork, relief, lacquered and foil-coated skills are used to make the window grille. The upper and lower parts are carved with patterns of bat with plum, grape and squirrels on decorated ground of intertwined gourd, melon, pomegranate, bergamot, peony and camellia, etc. Couplets are written in running hand with black paint polished .Black paint couples against the golden background is striking to the eye. Running hand seems to be carried through without stopping, smooth and stretch, which can be called a masterpiece.

展品:（清乾隆）通雕人物门肚 H276长63×宽38×厚4厘米

Door panel in openwork featuring the pattern of figures (Qianlong Period, Qing Dynasty)

作品采用潮州木雕常见的垂直构图，运用镂空通雕技法作三层镂雕。内容丰富，“蟹壳”里面的人物、骏马形态生动，形象逼真；建筑雕刻精细，华丽气派。四角的“开光”饰花草拐子纹，寓意富贵万代。

A common vertical composition of Chaozhou woodcarving is used in this work .Three-layer openwork technique is used to express rich content of vivid, lifelike figure and horse inside "crab". Architectural sculpture is fine, gorgeous reserved by flower and grass patterns to symbolize wealth generation after generation.

Zhanpin :（清代）通雕“百忍堂”窗花 H289 长66×宽43×厚4厘米

(提示：与H339配对特别展示)

Window grille in openwork featuring the story of the Hundred “Ren”(Restraint) Hall(Qing Dynasty)

麟德二年(公元665年)冬十月，唐高宗同皇后武则天带领文武百官离京去泰山封禅，归来路经寿张县访贤，当时张公艺已88岁高龄。当唐王问张公艺治家的方法时，张公艺写了一百个“忍”字，并解释：父子不忍失慈孝，兄弟不忍外人欺，妯娌不忍闹分居，婆媳不忍失孝心。唐王听后倍受感动，敕修百忍义门，并亲书“百忍义门”四个大字。 这两件木雕运用了镂空通雕与锯通雕相结合的技法，分为“蟹壳”和“开光”两个饰面表现题材。

Emperor Gaozong and Empress Wu Zetian visited Mount Tai on a ceremonial in October 665. They visited 88 years old Zhang Gongyi who lived in a harmonious extended family with nine generations on their way back. When the emperor inquired about his way of keeping the large family in harmony, Zhang wrote the Chinese character “ren” (meaning “restraint”) for one hundred times on a piece of paper and presented it to the emperor. The emperor praised his conception and awarded inscription to him. Skill of carved openwork combined with sawn openwork is used in the woodcarving works to express the themes in “crab” and “reserved” decorative sides.

展品：（清代）通雕郭子仪庆寿神龛门窗肚 H339高66×宽43×厚4厘米

Shrine door panel in openwork featuring the story of Guo Ziyi Celebrating His Birthday (Qing Dynasty)

(提示：与H289配对特别展示)

展品：（清代） 通雕人物故事花板（一对）H454长78×宽9×厚7厘米

Plank in openwork featuring the pattern of figures and stories (Qing Dynasty)

展品：（清末）长方形馔盒 H745长48×宽17×高37厘米

Rectangular food container (Late Qing Dynasty)

展品：（清代）木雕龛前瓶花 H1596长24×宽13×高61厘米

Vase before wood shrine (Qing Dynasty)

龛前瓶花是潮汕地区传统祭祀器具之一，使用时摆放在神龛前的两侧。此件瓶座部分为六棱形，腹部以黑漆为底，绘饰人物故事、山水图金漆画；肩部饰金线，左右两侧浮雕对称式双狮耳，颈部绘花鸟博古纹金漆画。瓶口开隼眼，以整块木料雕刻菊花、茶花、石榴、牡丹等花卉为一束，安插在瓶座上。花束以圆雕、镂通雕、线刻和髹漆贴金等工艺制作而成，精致华贵。

Vase before wood shrine is one of common traditional ritual utensils in the Chaozhou-Shantou area, placing on both sides of a shrine. This vase base is in hexagon form with gold-traced lacquer painting of figures and landscaped on black lacquer background. The shoulder is decorated with gold line with symmetrical lion-shaped ears in relief on the left and right sides. The neck is painted with gold-traced lacquer painting of birds, flowers and ancient pattern .A bunch of carved chrysanthemums, camellias, pomegranates and peonies is placed on the base. Flowers are carved in techniques of altorelievo, carved openwork, line engraving, coating and so on, refined, and luxury.

展品：（清代）金漆木雕“喜鹊闹梅”神龛楣H1665长81×宽13×厚6厘米

Gilt wood shrine head with the patterns of magpies and plum blossoms (Qing Dynasty)

该神龛楣采用镂通雕、浮雕、线刻、髹漆贴金等工艺制作而成。双凤、梅花、喜鹊组合图案是潮州木雕艺人常选用的装饰题材。口含宝珠的双凤，细长的凤眼、浅刻飘逸的羽毛；小鸟穿梭于梅花枝间，动感十足，镂通雕的梅树，花朵绽放，花蕾点缀枝头。虽然层次不多，但足能将“喜鹊闹梅”的意境展现在人们的眼前。

Techniques of altorelievo, carved openwork, line engraving , coating and so on are used to make the shrine. Pattern of double phoenixes, plum and magpie is a common decorative theme of Chaozhou woodcarving. Double phoenixes with pearl in mouth, birds in plums blossoms are carved vivid and dynamic. Plum tree is carved in openwork. Although there are fewer layers, the mood of "magpie on plum" could be shown in front of people.

展品：（清末）通雕洋人建筑构件 H534长27×宽19×高7厘米

Building component featuring the image of westerners (Late Qing Dynasty)

圆雕建筑构件，莲蓬下压着两个身着西装，手持文明棍的洋人。从构图比例上大下小，物大人小，似有对番人的贬低意味。

Building components press on two westerners in suit with a civilized stick .The composition and proportion of vessel and figures seem to degrade westerners.

展品（清末）圆雕洋人贡碟 H1617长9×宽8×高15厘米

Tray rest in altorelievo with the images of westerners(Late Qing Dynasty)

鸦片战争以后，西方列强大肆入侵和掠夺中国，引起人们的憎恨和蔑视，潮州木雕艺人把人们的这种憎恨和蔑视的情绪巧妙地表现在木雕作品中，此对贡碟的圆雕洋人形象就是典型的一例。器身上两个西洋人物均曲膝弯腰，手持拐杖，头戴礼帽，足蹬长筒靴，腰插弯刀、小旗，随身带着葫芦，一副掠夺者的形象跃然而出。艺人将贡碟的承盘安放在洋人的背上，充分表达了时人对西方列强的不满情绪。

After the Opium War, Western powers invaded and plundered China wantonly, arousing people's hatred and contempt. Chaozhou woodcarving artists show people's hatred and contempt in woodcarving works. The tray rest in altorelievo with images of westerners is a typical example. The two westerners on the vessel bent over, holding a walking stick, wearing a hat and boots with a knife, a flag and a gourd, showing images of invaders. Artists put a tray on the back of westerners to express discontent with the Western powers.

展品：（清末）圆雕羊形贡碟 H1618、1619长13×宽9×高8厘米

Sheep-shaped sacrifice tray in altorelievo (Late Qing Dynasty)

木雕贡碟是潮汕地区民间使用的一种祭祀器具，形制较小，多为整块木料雕刻而成，其结构可分底座、器身和承盘三部分，器身多以狮、羊、麒麟等象征吉祥的动物为题材，以圆雕技法雕刻而成并作髹漆贴金装饰，精致小巧而不失庄重。此类贡碟常常成对使用，上放鲜果、方糖等食品，陈列于神龛前的几案上。此对贡碟分别以山羊、绵羊为主体造型，羊脚踏着元宝，背上驮着花篮形承盘。造型独特，寓意吉祥。

Woodcarving sacrifice tray is a common worshiping vessel in the Chaozhou-Shantou area. The shape is small ,normally carved with a block of wood ,divided into three parts of base ,supporter and tray. The supporter is normally featuring the auspicious themes of lions, sheep, Kirin and so on, usually carved in altorelievo coated with gold foil. In the worshiping ceremony, the sacrifice trays are placed in pair in front of the large shrine with fresh fruits and sugar. The sacrifice tray is in form of sheep, goat on ingot carrying basket-shaped tray, unique and auspicious.

展品：（清代）圆雕子母麒麟贡碟 H1615长11×宽8×高21厘米

Kylin-shaped sacrifice tray in altorelievo( Qing Dynasty)

展品：（清代）通雕孝行图花板 H449长44×宽23×厚3厘米

Plank featuring filial obedience (Qing Dynasty)

作品表现了“乳姑不怠”、“涤亲溺器”、“亲尝汤药”等中国民间广泛流传的孝行故事。“乳姑不怠”讲述了唐朝崔南山之曾祖母年老无齿，不能进食，祖母唐氏则以自己的乳汁喂养，保其身体安康。“涤亲溺器”是说宋太史黄庭坚，虽富贵显耀，在朝为官，对母亲的饮食起居却是亲力亲为，甚至亲自洗涤母亲的溺器。“亲尝汤药”则是汉文帝的孝行，刘恒虽贵为帝王，侍奉生母薄太后却从不倦怠。其母一病三年，刘恒日夜守护，甚至连汤药也要亲自尝试方才供母。反映出中国传统的孝悌观念。

This work shows the popular filial folk stories in China, such as Milking Great Grandmother, Serving Mother in Person and Tasting Medicine for Mother in Person. Milking Great Grandmother tells the story of Cui Nanshan of the Tang Dynasty. His great grandmother had no teeth and could eat nothing. His grandmother fed his great grandmother with her milk to keep his great grandmother healthy. Serving Mother in Person tells the story of Huang Tingjian of the Song Dynasty. Although he was a high official, he served his mother in person, even washed his mother’s chamber pot. Tasting Medicine for Mother in Person tells the story of Emperor Wendi of the Han Dynasty. Although he was emperor, he served his mother in person. When his mother had been ill for three years, he waited upon his mother day and night, even tasted medicine for his mother in person before his mother took. The three stories reflect the traditional Chinese concept of filial piety.

展品：（清末）六角形宣炉罩 H776长41×宽41×高48厘米

Diamond incense burner cover(Late Qing Dynasty)

展品：（清代）通雕吉祥图案花板　　H299高68×宽40×厚6厘米

Plank with auspicious patterns(Qing Dynasty)

结 束 语

Epilog

一千多年来，潮州木雕艺术植根于深厚的潮汕文化沃土，在富饶的潮汕大地上茁壮成长。她曾经灿烂过，辉煌过，为人们留下了无数亮丽多姿的人文风景。我们应当百般珍视她，用心呵护她，让她重现风采，再创辉煌！

Gone is the golden time of Chaozhou woodcarving. However, it is to be remembered that it has once glittered brilliantly with dazzling light over the broad Chaozhou-Shantou area and constituted numerous sights with rich cultural connotation. The question is now posed before us of how to prize it, treasure it and resume its legends of glory and splendor.

（设计提示：以潮州古城图套底）

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