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乾隆时期,是清代漆工艺发展的黄金时期,宫廷中遗存的清代漆器,大部分是这一时期制作的。这一时期雕漆生产得到全面恢复,推动了漆工艺新的繁荣,漆器的制作中心已由明代的北京转移到清代苏州地区,地域的差异,直接导致了漆工艺风格的变化。清代乾隆时期的雕漆既不同于明早期“隐起圆润,藏锋清楚”的特点,也不似明代晚期“刀法快利,棱角清晰”的风格,而是根据图纹的实际需要,把二者结合起来,使圆滑与锋利相得益彰。对细部的处理则更多吸收绘画中皴、擦、点、染的技法,增强了山石树木的层次感和立体效果;并且有与玉石,铜镀金,诗文相结合的装饰。这时期还特别发展了大型的雕漆器,如雕漆大屏风、床榻、座椅、柜桌、挂屏,甚至使用雕漆棺材。
Qianlong period, is the golden age of the Qing Dynasty lacquer technology development, the remains of the Qing court lacquer, mostly made during this period. Carved lacquer production was fully restored during this period, promoting the new prosperity of the lacquer process, the production center of lacquer has been transferred from Beijing in the Ming Dynasty to the Qing Dynasty in Suzhou area, the geographical differences, a direct result of changes in the style of paint. Carved lacquer in the Qianlong period of the Qing Dynasty is different from the characteristics of “hidden mellowness and clear front” in the early Ming dynasty. It is also similar to the style of “sharp edges and sharp edges” in the late Ming Dynasty. Instead, according to the actual needs of the patterns, Combined, smooth and sharp complement each other. The details of the treatment is absorbed more drawing brush, rub, dot, dye techniques, enhance the sense of the level of stone trees and three-dimensional effect; and with jade, copper-plated, poetic combination of decoration. During this period, large-scale carving lacquer wares were also specially developed, such as carved large screens, couches, seats, cabinet tables, hanging screens and even coffin carvings.