賞。
Area B - 3
致韵系列 脫胎流彩斑大漆茶罐
Boluo Lacquer Tea Can
(L) NTD 960,000 / (M) NTD 690,000 / (S) NTD 470,000
<Limited Edition-18 pcs each>
珍稀至極的犀皮漆器，源自古老的漆器工藝。「犀皮」又寫作「西皮」或「犀毗」，這裡的「犀皮」並不是犀牛皮，而是特指古代漆器製作中的一種裝飾工藝。最早的犀皮漆出現於三國時期，發展至今約1800多年，但多次幾近失傳。
此工藝是先將不同顏色的漆料堆塗在高低不平的器胎上，漆料乾燥後再經打磨，從而產生色澤亮麗、光滑、自然生動的特殊效果。
SHANG XIA 上下致韵大漆茶罐系列由徽州漆器藝術家甘而可採用犀皮漆（又稱菠蘿漆）製作，透過自行翻閱古籍和記錄，不斷摸索和研究，選取成熟的明代式樣，全器完全以天然大漆、夏布等為原材料，純手工製作。首創「流彩斑」技法，營造出深淺斑斕、富於流動感的紋理。蓋子、罐口更運用高難度的脫胎技法，完美呈現出堅韌耐用的特質。同時，採自天然漆樹的大漆製成，乾燥後的大漆硬度極高，兼具實用與美學。
The exceptionally rare rhinoceros horn lacquerware originates from the ancient lacquerware craft. "Rhinoceros horn" is sometimes also written as "Xipi", and in this context, it does not refer to rhinoceros’ horn but specifically denotes a decorative technique in ancient lacquerware production. The earliest Xipi lacquerware appeared during the Three Kingdoms period and has been developed for over 1800 years, although it has come close to extinction several times.
This craft involves layering different colored lacquer on uneven surfaces of the object, followed by drying and polishing, resulting in a vibrant, smooth, and naturally vivid special effect.
SHANG XIA's Boluo Lacquer Tea Canister series, created by Huizhou lacquerware artist Gan Erke using Xipi lacquer (also known as pineapple lacquer), is the product of extensive research and experimentation. By consulting ancient texts and records, selecting mature Ming Dynasty patterns, and using entirely natural materials like lacquer and summer cloth, these items are handcrafted. The innovative "flowing color spots" technique creates a texture rich in depth and flow. The lid and the mouth of the canister employ high-difficulty relief techniques, perfectly presenting its durable and robust qualities. Additionally, the lacquer used is derived from natural lacquer trees, resulting in extremely high hardness after drying, combining practicality and aesthetics.
甘而可大師
甘而可老師自幼學習木工，並跟隨被譽爲“楚漆國手”的屯溪漆器藝術家—俞金海學習雕刻、漆藝等藝術技巧。
隨著時間推移，屯溪漆器的技藝逐漸式微。甘而可便著手致力於復興徽州漆藝及研究犀皮漆技術。徽州匠師黃成所著《髹飾錄》是中國古代唯一流傳至今的漆藝著作。其中，對犀皮漆的描寫「文有片雲、圓花、松鱗諸斑。近有紅面者，以光滑爲美。」。相傳因其肌理與犀牛肚臍的花紋相似而得名，曾被明代書畫家董其昌譽爲“漆器之首”。
甘而可認為在中國衆多漆器品類中，犀皮漆存世量最少。因此，日後在他的帶領下，這門古老的技藝得以保留和發展，同時，也展示了尊重傳統且注重創新的一種態度。
Gan Erke learned carpentry since he was a child, and learned carving, lacquer and other artistic techniques from Tunxi lacquer artist Yu Jinhai, who is known as the "National Master of Chu Lacquer".
As time passed, the art of Tuanxi lacquerware gradually declined. Gan Erke took it upon himself to revitalize the Huizhou lacquer art and research the technique of rhinoceros horn lacquer. "Kuoshi Lu," written by the Huizhou craftsman Huang Cheng, is the only ancient Chinese lacquer work that has been passed down to this day. It describes rhinoceros horn lacquer as having "cloud-like patterns, circular flowers, and pine-scale-like spots. Those with a smooth finish are considered beautiful." It is said to have been named because its texture resembles the patterns on a rhinoceros's navel and was once acclaimed as the "top of lacquerware" by the Ming Dynasty painter Dong Qichang.
Gan Erke believed that among the various types of Chinese lacquerware, rhinoceros horn lacquer had the fewest surviving examples. Therefore, under his leadership in the future, this ancient art form was preserved and developed, demonstrating an attitude of respecting tradition while emphasizing innovation.
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