雕漆剔紅系據考始于唐代，經歷代藝人們的繼承和發展，品種豐富，技藝精湛，成為我國優秀的藝術瑰寶。此銅胎雕漆纏枝花卉紋瓶一對，器型周正巧妙，做工細膩精致，周身雕刻纏枝花卉紋，布局嚴謹而有法度，工整莊重，一派皇家氣度。極盡華美，奪人珠目。
According to the research, the system of carving lacquer and picking red began in Tang Dynasty, and experienced the inheritance and development of generations of artists. It is rich in variety and exquisite in skills, and has become an outstanding artistic treasure in China. This pair of bronze-tire carved lacquer flower pattern bottles is well-formed and exquisite in workmanship. The whole body is carved with flower pattern. The layout is rigorous and legal, neat and solemn, with royal bearing. Extremely gorgeous, winning people's eyes.
雕漆的工藝過程十分復雜，要經過設計、制胎、燒藍、作地、涂漆、畫工、雕刻、拋磨、做里、做舊10道工序。
The process of lacquer carving is very complicated, which involves 10 processes: design, tire making, blue burning, land making, painting, painting, carving, polishing, lining and old making.
據明代黃成的《髹飾錄》記載，雕漆發源于唐代的四川、云南一帶，但是人們后來沒有見到過唐代的雕漆作品。
According to Huang Cheng's Zhuan Shi Lu in Ming Dynasty, carved lacquer originated in Sichuan and Yunnan in Tang Dynasty, but people have never seen carved lacquer works in Tang Dynasty.
宋代是雕漆工藝的發展時期。“剔紅”和“剔犀”都已經出現。北京故宮博物院藏有一件精致的剔紅傳世品《桂花紋剔紅盒》，日本圓覺寺也藏有東渡日本的宋代遺民許子元攜去的《醉翁亭圖朱錦地剔黑盤》。剔犀工藝在宋代已經十分成熟，在江蘇武進和山西大同等地的南宋、金代墓葬中都出土了為數不少的剔犀器具。比如，出土于江蘇金壇南宋周 墓的《剔犀執鏡盒》便是一件技藝純熟的作品，鏡盒直徑15.4厘米，長27厘米，木胎，漆層肥厚，刀口圓熟，現藏于常州市博物館。出土時，盒子內部還有一把執鏡，可見，當時富有的人家在日常生活中已經十分鐘情于雕漆制品了。
Song Dynasty is the development period of lacquer carving technology. "Picking red" and "picking rhinoceros" have already appeared. The Palace Museum in Beijing has a delicate red picking box handed down from ancient times, and Yuanjue Temple in Japan also has a black plate picked by Zuiweng Pavilion and Zhu Jindi, which was brought by Xu Ziyuan, a remnant of Song Dynasty who traveled to Japan. The rhinoceros picking process was very mature in Song Dynasty, and many rhinoceros picking instruments were unearthed in Southern Song Dynasty and Jin Dynasty tombs in Wujin, Jiangsu Province and Datong, Shanxi Province. For example, "Picking Rhinoceros and Holding Mirror Box", which was unearthed in the Tomb of Southern Song Dynasty in Jintan, Jiangsu Province, is a skillful work. The mirror box has a diameter of 15.4 cm and a length of 27 cm. It has a wooden tire, thick paint layer and round blade, and is now in Changzhou Museum. When unearthed, there was a mirror inside the box. It can be seen that wealthy families at that time were already very fond of carved lacquer products in their daily life.
元代，雕漆工藝隨著工匠的流動，由浙江嘉興等地傳入了北京。由于元代的工匠會在他們的作品的底部刻上名字。他們制造了大量優秀的作品，后來許多珍藏在故宮博物院。元代的雕漆技藝通過藝人們的世代相傳延續到了明代。明代初期，由于皇宮及國禮需求日增，皇宮“御用監”在京城專門設置了制作漆器的作坊——果園廠，并召請元代藝人張成之子張德剛主持。全國各地的優秀工匠被匯聚到北京，雕漆藝人們的辛勤鉆研，相互切磋，雕漆技藝日臻完善，不同的制造工藝和藝術風格相互融合，最終創造出了北京雕漆工藝的獨特面貌。在藝術上，果園廠早期制造的雕漆制品注重磨工，光潤、古樸、渾厚，是以前的雕漆無法比擬的。明末，雕漆制造經過了一段時期萎縮后，至清初，雕漆工藝又開始興盛。
In Yuan Dynasty, with the flow of craftsmen, lacquer carving technology was introduced to Beijing from Jiaxing, Zhejiang and other places. Because craftsmen in Yuan Dynasty would engrave their names on the bottom of their works. They produced a large number of excellent works, many of which were later collected in the Palace Museum. The lacquer carving skills of Yuan Dynasty continued to Ming Dynasty through generations of artists. In the early Ming Dynasty, due to the increasing demand for the imperial palace and state ceremonies, the Royal Supervisor of the imperial palace specially set up a workshop for making lacquerware in Beijing, and invited Zhang Degang, son of Zhang Cheng, an artist of Yuan Dynasty, to preside over it. Excellent craftsmen from all over the country were gathered in Beijing. Lacquer artists studied hard and exchanged ideas with each other. Lacquer carving skills improved day by day, and different manufacturing techniques and artistic styles merged with each other, finally creating a unique face of Beijing lacquer carving technology. In art, the carved lacquer products made by Orchard Factory in the early days pay attention to grinding, which is smooth, simple and vigorous, and can't be compared with the previous carved lacquer. At the end of Ming Dynasty, after a period of shrinking, the lacquer carving technology began to flourish again in the early Qing Dynasty.
清代的雕漆工藝繼明代的果園廠之后設立了造辦處漆作，從事雕漆等漆藝制品的專門生產。清代的雕漆由于其造價高昂，多系皇家造辦處產品。清中期，由于乾隆皇帝的喜愛，宮廷監制了大量的雕漆作品，大如屏風、幾踏、桌椅，小到瓶、罐、盒、盤乃至日常擺設，應有盡有。這一時期的雕漆作品構圖嚴謹，雕工精細，圖案繁縟，工藝復雜，形成了雍容華貴、工細柔麗的藝術風格。
Carving and Lacquering Technology in Qing Dynasty After the Orchard Factory in Ming Dynasty, a paint office was set up to specialize in the production of lacquer products such as carving and lacquer. Because of its high cost, carved lacquer in Qing Dynasty was mostly produced by the Royal Manufacturing Office. In the mid-Qing Dynasty, due to the love of Emperor Qianlong, the court produced a large number of carved lacquer works, ranging from screens, treads, tables and chairs to bottles, cans, boxes, trays and even daily furnishings. In this period, the carved lacquer works have strict composition, fine carving, complex patterns and complex techniques, forming a graceful and elegant artistic style.
較之明代，清代的雕漆有許多顯著的特點。明代雕漆漆色暗紅，清代鮮紅；明代雕漆刀法圓潤，多磨光，清代則刀痕顯露，不打磨；明代的雕漆花紋莊重渾厚，清代則繁縟纖細。此外，明代雕漆的胎骨多為木胎，清代則兼有瓷胎、紫砂胎、皮胎等。清代雕漆亦多剔彩，工匠們常刻出兩色錦地以增加色彩的變化。從題材上看，清代的北京雕漆在花卉蔬果題材的基礎上又增加了許多寓意吉祥、歌頌太平盛世的題材，圖案空間的處理也普遍采用了開光的形式。
Compared with the Ming Dynasty, the lacquer carving in Qing Dynasty has many remarkable characteristics. The lacquer color of Ming Dynasty is dark red and bright red in Qing Dynasty. In the Ming Dynasty, the lacquer carving knife method was round and polished, while in the Qing Dynasty, the knife marks were exposed and not polished; Carved lacquer patterns in Ming Dynasty were solemn and vigorous, while those in Qing Dynasty were elaborate and slender. In addition, the fetal bones carved with lacquer in Ming Dynasty are mostly wooden ones, while in Qing Dynasty, there are porcelain ones, purple sand ones and leather ones. In Qing Dynasty, carved lacquer was often carved with colors, and craftsmen often carved two-color brocade lands to increase the color change. From the subject matter point of view, Beijing carved lacquer in Qing Dynasty added a lot of themes which implied good fortune and celebrated the peaceful and prosperous times on the basis of flowers, fruits and vegetables, and the pattern space was generally treated in the form of lighting.
明、清兩代所產的雕漆制品后來多藏于北京故宮博物院、臺北故宮博物院、南京博物院、遼寧省博物館、上海市博物館等處。乾隆之后，隨著國力的衰退，雕漆的制作日益萎縮。到了清末，政治動蕩，經濟衰退，皇宮對雕漆器需求銳減，致使雕漆制造一度中斷，雕漆技藝近乎失傳。
Carved lacquer products produced in Ming and Qing Dynasties were later collected in Beijing Palace Museum, Taipei Palace Museum, Nanjing Museum, Liaoning Provincial Museum and Shanghai Museum. After Qianlong, with the decline of national strength, the production of carved lacquer was shrinking day by day. By the end of the Qing Dynasty, the political turmoil and economic recession caused the demand for lacquer ware in the imperial palace to drop sharply, which led to the interruption of lacquer ware manufacturing and the loss of lacquer ware skills.
建國以后，雕漆產業再次繁榮，并且產業成熟，有一大批從事雕漆行業的手工藝者，并制作出了相當數量的雕漆制品。雖然大部分雕漆產品銷往海外，但是隨著人們逐漸開始認識雕漆，會有越來越多的國內外藏家出手收藏。這就決定了雕漆升值的基礎——足夠的收藏者和愛好者。當這個圈子大到一定程度的時候，雕漆的身價將與日俱增。
After the founding of the People's Republic of China, the lacquer carving industry prospered again and matured. There were a large number of craftsmen engaged in lacquer carving industry and produced a considerable number of lacquer carving products. Although most carved lacquer products are sold overseas, as people begin to know carved lacquer gradually, more and more collectors at home and abroad will collect it. This determines the basis for the appreciation of carved lacquer-enough collectors and lovers. When this circle reaches a certain level, the value of carved lacquer will increase day by day.
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