“古漆新花”是黄苗子先生对乔十光的评价,在观看完中国国家博物馆“大漆之光——乔十光80艺术展”之后,我由衷地觉得,黄苗子先生的“古”和“新”两字使用得确实曼妙非常。它高度概括了乔十光沉潜民间工艺与传统文化之后的创新历程,以及他将漆艺与绘画相结合的过程当中,坚持民间与艺术相结合、传统与当代相结合、东方与西方相结合的当代漆画之路。乔十光出生在馆陶县的一个农民家庭,后于中央工艺美术学院求学,系统学习绘画,1964年研究生结业后留校任教。从乔十光早期的素描和水彩作品中,不难“嗅”到他扎实的绘画功底和对色彩的极度敏感。在研究生系统学习期间,乔十光选择了漆画 “Old Painted New Flowers ” is the evaluation of Mr. Qiao Zhaoguang by Mr. Huang Miaozi. After watching the National Museum of China “Light of the Lacquer - Qiao Xuguang 80 Art Exhibition ”, I sincerely feel that Mr. Huang Miaozi’s “ Ancient ”and “ new ”the use of the word is indeed graceful. It highly summarizes the creative process after Qiao Shiguang’s submerging of folk crafts and traditional culture, and his integration of lacquer art and painting, insisting on the combination of folk and art, the combination of tradition and contemporary, the contemporary lacquer combining the East and the West, Painting the road. Qiao Zhaoguang was born in a peasant family in Guantao County. After studying at the Central Academy of Arts and Crafts, he studied systematically drawing and painting. After graduating in 1964, he left for school to teach. From Qiao Shuguang’s early sketches and watercolor works, it is not difficult to “sniff” his solid grounding in painting and extreme sensitivity to color. During his graduate studies, Qiao Zhaoguang chose lacquer painting