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火烙画是中国民间工艺之一,五、六十年代以河南南阳一带生产的产品为著。传统的火烙画是用烧热的铁扦在扇骨、梳篦、葵扇、竹木制品家具上烫出各种人物、花卉等纹样和吉祥文字。后来,河南、东北、安徽等地又把使用在竹木家具和日常生活用品上的烙画工艺广泛使用在旅游产品和出口工艺品上,在制作的手法上也有所提高,开始尝试制版机器烫烙,使用工具也采用电热丝和电烙铁来取代原先的铁扦、铁丝古老工具,并开始制成成幅的山水和人物画出售。虽然火烙画的发展比起百年前的作品已有了大大的改观,然而这些火烙画并没有登上大雅之堂,作品内容雷同而缺乏生活气息;布局、手法纤弱而气力不足,单一、呆板更缺乏火烙画固有的“火”的特色,总之突不破传统藩篱,囿于成规,并没有真正跨出火烙画百年
Fire pyrolysis is one of China’s folk arts and crafts, the 1950s and 1960s to Henan Nanyang area for the production of products. Traditional fire pyrography is the use of hot iron skewer in the fan, comb, Kwai fan, bamboo furniture, hot items of various figures, flowers and other patterns and auspicious words. Later, Henan, northeast, Anhui and other places again in the wood furniture and daily necessities on the pyrography process widely used in tourism products and export crafts, production techniques have also been improved, and began to try plate-making machine Ironing , The use of tools also use electric wire and electric iron to replace the original iron skewer, iron wire ancient tools, and began to make into the landscapes and figures painted for sale. Although the development of pyrography has been greatly improved over the works of a hundred years ago, these pyrotechnics did not reach the end of the scale. The content of the works is similar and lacks the atmosphere of life. The layout and methods are weak and weak, Dull lack of fire pyrography inherent “fire ” features, in short, breaking the traditional barriers, 囿 in the rules, and did not really cross fire extinction centuries