做漆，顾名思义指从事漆艺。知道汤志义做漆，是因他的漆画《渔舟飘至》得了全国美展金奖。了解他专注于漆艺，解读其艺术的内涵，则缘自十几年的共事与交往，除了工作上的联系，彼此还有几许相投的趣味：好品茗，爱收藏。

　　在位于福州洪湾路金山公园旁“大汤漆坊”空旷的室内，长案横陈，器物环绕，鸟语花香，漆味弥漫……晌午的阳光透过窗楹投在志义的身上，日常琐细与做漆心得，品茶回甘，谈话兴致渐入佳境。喜欢在漆坊里品茗闲聊，固然因志义总有上等陈茶可一解茶瘾，终归是坊内的古旧家什和新作共同营造的氛境所致。这是一种由“传统与现代”“技术与观念”相互交织的情境，使观者不断变换审视的角度，或传统?或现代?或二者皆有，互为包融。

　　志义从选择入行开始，便将自己置于机遇与挑战并存的境地，有很高的站位。他深知底蕴深厚的中国传统漆文化足以滋养他的漆艺，同时亦觉察在漫长的漆艺历史发展过程中经历了从物质到精神，从精神到物质，再回到精神的循环。例如：早在七千多年前河姆渡先民在木胎碗上的髹涂和擦漆，是生存的所需;春秋战国时期工艺巧妙纹饰精美的漆器是出于“礼”的营构;宋代理学思想让文人参与漆艺的创作和制作，确立了造物成器的审美高标准;明清以来则更多的倾向世俗化，器物的实用性功能占据主导;到了近现代漆艺演变成大批的出口商品。时至今日，面对价值观改变审美接受方式多元化的社会，漆艺如何回应?是走实用与审美结合的路子，或是追求审美与精神相结合?志义选择了后者。这样的选择，使他肩负更多的历史使命和文化道义。初来乍到，一出手即赢得满堂喝彩，其一招一式并未显出生涩，反而以清新与沉稳尽显老辣。

　　究其缘由，有三：一是热爱漆艺。古往今来，但凡在某一领域有所作为者无不出于热爱，由此必然时时以饱满的热情投入其间，并为此付出巨大的辛劳。志义专注于漆艺甚至到了痴迷的地步，与漆结缘,由漆化境;二是善于用器。用器，成器也。志义原装饰艺术专业，大学期间系统化训练掌握严谨的造型能力，又强化了变形、夸张之合理性的要义。他谙熟古今中外的装饰手法，对色彩因素、光的作用有相当独到的领悟，这些都可从他前期油画创作的探索中得以体现。雅致的高调子闪烁着光斑，和谐的构成和对肌理的敏感成为他艺术语言形成的要素，为漆艺创作奠定了基础。日后入行做漆，由艺入漆，漆艺结合;三是勤于行善于思。汤志义从绘画入漆艺的选择不能说只是简单的门庭转换，选择即思考的结果。由最初的画家变成漆艺家亦不只是称谓上的改变。他曾自费参加中国漆画艺委会举办的高研班，以提高漆画创作水平;他研习传统漆艺的材料制作和技法，向福州的漆艺老师傅们虚心讨教，成了忘年交;他阅读相关的文献资料，了解福州漆艺的历史，感受漆文化的内涵。随着实践的深入，志义愈发感受到漆文化的博大精深，他认定做漆不是一味依靠技术来成器造物，还应体现漆艺韵味与品质，漆艺是靠神韵说话，靠理念来支撑的。

　　志义漆画创作主要集中在三大主题表达上：惠安女子、江河湖海、荷花莲蓬。取材惠女他注重人物的品格和气质的提纯，在《渔歌飘至》这幅画作里，惠安女显然不是被塑造成自然生活状态，而是着重表现通过整理概括的意象造型。他并不囿于“待渔归”的现实情境，对人物造型适当进行变形夸张，并置于银灰色的光斑笼罩下，呈现出略带宗教意味的期许，升华了情感。此外，他通过反复实验将“泼漆”、“冲漆”的技法运用于对江河辽阔，心在彼岸的主题表现，这般偶然与必然，收敛与释放之间对应着深层的哲理。荷花的绽放与莲蓬的枯败被置于朱色、金色、黑色、银色背景前，是富贵与欢愉之下对岁月流逝、生命轮回的感伤。

　　志义从小生长在云霄，身上有着闽南人特有的“爱拼敢赢”的性格，从艺做事敢于担当，交往朋友都为他的豪爽、大方所感染。他同时受到在地文化的影响，漳州的浦(漳浦)、云(云霄)、诏(诏安)、东(东山)四县与潮汕接壤，是中原汉文化输入福建的路径之一。历史上潮汕地区隶属福建(闽南方言区)，两地文化相互交融，潮汕人生活的精致、处世的融通影响了包括云霄在内的地区。于是，志义身上豪迈与细腻兼而有之，漆艺的特性恰恰契合了他的性情。讲究构思立意为先，形态勾勒色彩肌理辅设，经过预设与磨显逐渐达到自己的预想。而大漆不断氧化与蜕变，必然与偶然，发现与呈现，正是这种不可预见性与可能性令人着迷，他久久地浸注于此，与漆对话、交流。其次，他具有不同寻常的悟性和天资。艺术是需要“天赋”的，有的人以勤补拙，有的人智而不勤。志义才华横溢，勤奋刻苦，他的艺术充满着才情和哲思，融入了自己对人生、对艺术、对事业追求的态度。基于此，他的漆艺做得从容、自信。

　　选择做漆入行，必行“行规”。行规，一指旧时进行业规矩，一指精神层面的追求。循规蹈矩是讲职业操守，讲诚信、溯脉传，同样是讲做人的道理。活儿做的地道，既讲技术精湛又求形神兼备，更需创新发展。换言之，道行必深，方能生存，做漆亦如立本。

李豫闽   福建师范大学美术学院院长、教授、博士生导师

　　Good Tao Comes from Pursuit of Character

　　- Reflections on Tang Zhiyi’s Lacquer Art

　　- Li Yumin (PHD Supervisor & Dean of the School of Fine Arts of Fujian Normal University)

　　In our local dialect, “do the lacquer” means the person is engaged in the practices of lacquer art. I first came to know Tang Zhiyi as a practitioner of lacquer art is from his lacquer masterpiece, Approaching Fisher Boat, which is a gold prize winner at China’s National Exhibition of Fine Arts. However, I only got to truly understand his commitment to lacquer art and his artistic understanding from our decade-long professional and personal contacts. Apart from work, our interactions also have something to do with our shared common hobbies. We both like tea tasting, and we both are huge collectors.

　　His workshop, the spacious and beautiful “Old Tang’s Lacquer Shop”, is located just near Jinshan Park on Hongwan Road in downtown Fuzhou, is exquisitely furnished with antique wooden decors and art works, and often filled with the a vague enchanting smell of lacquer and fresh tea. I remember the sunlight of noon casting through the window on Brother Zhiyi, and from time to time we would sit there and talk, from everyday trivia to our experiences of lacquer art. Along with our conversations often accompanies tea tastings.

　　Since the very much he choose lacquer, Tang placed himself in a situation where opportunity and challenge coexist with one another. He well realized that and also deeply believes that his rich heritage in Chinese tradition is the fertile nutrition for the cultivation of his artistic techniques. From his observation of the long history of lacquer art, he sees the endless evolving circle of creation out from something material to something spiritual, then from spiritual to material again. For instance, ancient Chinese living in the Hemudu region living more than seven thousand years ago initiated to put and rub lacquer on the exterior of wooden bowls, which is out of a consideration for survival needs; then in the Spring and Autumn Period (771-476 BC), lacquer wares engraved with exquisite patterns are constructed out of the emphasis on “etiquette” at the time; later in Song Dynasty (960-1279 AD) during which neo-Confucianism prevailed and neo-Confucian scholars were encourage in the creation and production of lacquer art, and this established a very high standard of lacquer artistic aesthetics; from then on in Ming and Qing dynasties (1368-1840 AD), lacquer wares tended to be more practical and secular, with functionality being placed on a higher priority; then in the contemporary and modern times, lacquer wares were more created and exported to countries all over the globe. Now that in today’s world where values and aesthetics are becoming more diversified, how should the art of lacquer respond to that? Should we combine functionality with aesthetic beauty? Or combination of aesthetic beauty with spiritual pursuit? Evidently, Tang Zhiyi chose the latter. This choice is made out of a respect for his historical mission and cultural morality. As a new comer to the lacquer art world, his first trials have been well-received: the design and details do not show any immaturity, but rather a scent of freshness added to his calm sophistication.

　　To understand why is this, there are roughly three reasons. First, a love and passion for lacquer art. Throughout the ages, we see that almost all of those who can make a difference in a particular area have genuine love and passion for what s/he does and are willing to be truly devoted investing a huge amount of hard work in it. Because of this enthusiasm, these artists cannot help but to dedicate their uttermost passion into their creative work. The commitment that Brother Zhiyi has for lacquer art can well be said to be an almost obsession. There is deep bond between him and lacquer art. Whatever he sees can all be transformed into an inspiration for his next creation. Second, versatility. Brother Zhiyi started off as an art deco major student back in college, during which he has received immense and systematic training in artistic structure and shapes. This enables him to master how to create a textbook-proven orthodox structure, but also makes him well understood the logic and rationality to create an unconventional, abstract one and how to accomplish just that. Therefore, he is adept with traditional and modern decorative techniques, and has gathered quite unique insights in terms of color factors and the effect of light, all of which can be seen from his early exploratory efforts in oil paintings. An elegant tone fused with shining spots, a harmonious structure and a keen sensitivity to texture become the three major elements of his artistic language. This can also be said to be the foundation laid for his future lacquer creation. He started off as an art student, then he joined to learn lacquer, so it comes naturally for him to combine the both. Third, good Tao comes from pursuit of character. Tang Zhiyi’s choice from painting to lacquer cannot be regarded as a simple change of career direction. In retrospect, this choice is the result of calm considerations. The change from the initial painter to then a lacquer artist is not just a change of profession nor title. For instances, he has participated, on his own expense, in the advanced seminar organized by the Lacquer Painting Art Committee of China Artists Association, in order to improve his ability especially in lacquer painting; he also became close friends with Fuzhou’s local lacquer folk craftsman/masters and humbly asked for their advice and guidance, in an effort to research on making of mixed media and on the application of traditional lacquer artistic techniques; he read extensively of relevant literature works to understand the history of Fuzhou lacquer art and to understand the rich heritage behind it. As his practice in lacquer art deepens, Tang Zhiyi can increasingly feel the profound culture of lacquer art, so he finds that “do the lacquer” cannot solely rely on technical expertise to just make things, but should also reflect the special charm and quality of lacquer art. Lacquer art lives by its charm, and should be built on a particular concept.

　　Tang Zhiyi creates lacquer paints mainly based on the expression of three major themes, i.e., the Hui’an women, great rivers and oceans, as well as lotus and seedpod. On the one hand, in portraying Hui’an women, he lays a huge emphasis on the refinement of their pure character and mild temperament. In his renowned piece Approaching Fisher Boat, for instance, the painting, the Hui’an woman is clearly not being depicted as in her natural state of life, but rather focused on the summarized and generalized typical imagery. Tang does not confined himself to the actual setting of the Hui’an woman “waiting for the return of the fisher boat”; but instead, to distort and exaggerate the image of the protagonist to a proper degree, and place the protagonist under the lights and shadows in color silver grey, which created a slightly religion-like anticipation and thus intensifying the emotions behind it. On the other hand, through repeated experimental trials and errors, Tang Zhiyi has mastered the application of both the “splashing technique” and “washing technique” into the interpretation of the grandeur of rivers and oceans, to convey a feeling of “my heart is on the other shore”. Therefore, such a combination of contingency and inevitability, or the contrast of delicacy and boldness is the response to the underlying philosophical concern. For instance, the blooming lotus and the withering lotus seedpod are put together in the same background colored in vermilion, gold, black, and silver, expressing sentimental emotions over the fear for the quick passage of time and the cycle of life during the best days of life infused with wealth and pleasure.

　　Tang Zhiyi was born and raised in Yunxiao, Fujian Province. He has the unique quality typical for people in Southern Fujian, that is, daring and thirst for victory. Everything he does, he does it with a sense of responsibility, and people close to him are all touched by his generosity and bright personality. He is also shaped by local culture of the region, including Pu (Zhangpu), Yun (Yunxiao), Zhao (Zhao’an), and Dong (Dongshan)—all four places are heavily influenced by cultures and traditions in northern and central China, but also bordered with Chaoshan region with people living there marked with a sophisticated way of life and good people skills. So this blend of the two cultures shows in Tang Zhiyi, and the integration of boldness and sophistication is evident not only on him but also his work. In addition, Tang Zhiyi is mesmerized by the constancy of the changing quality of lacquer, with lacquer’s oxidation and decay always comes with something new and unexpected. Tang truly appreciates such an uncertainty, and have devoted in a better understanding of lacquer. Secondly, he unusual savvy and talent for lacquer art. Artistic creation requires certain “talent”. People say that the less talented can make up for it by diligence, but some talented ones are unwilling to work hard. But for Tang Zhiyi, he is not only very gifted but also extremely devoting. His creations are pumped with personal emotions and philosophical consideration, fuelled by his concern for life, for art, and for a professional pursuit. As a result, his work oozes a calm, confident vibe.

　　If one chooses to enter the “do the lacquer” business, s/he has to follow the “rules of the business”. Here, by saying “rules of the business”, I meant the dos and don’ts in the business in old times; I am also referring to a spiritual pursuit. Following the norms is about professional ethics; integrity and inheriting the roots are also the truth about how to become a better man. To create a truly great artwork, it should be about both skilled expertise and vivid interpretation; it should also about innovation and development. In other words, a piece of artwork has timeless value only with a sense of Tao, and good Tao comes from an earnest pursuit of character.

作者：李豫闽