故宫博物院藏有清代漆器达一万五千余件,它们是由官造和民造漆器两部分构成的,其中民造漆器超过三分之一,这一比例足以说明民造漆器是清宫漆器中的重要组成部分,然而多年来学者们对这部分漆器的研究却少有涉及,以致影响着人们对清宫漆器的总体认识。根据档案和流传实物两方面来看,在向宫廷进贡漆器的多个省份里,贵州漆器进贡的不仅最为频繁,数量最大,而且地域性强,民俗特色显著,在漆工艺领域中占有一席之地。笔者运用现有资料进行研究,将贵州漆器从清宫大量的民造漆器中分辨出来,总结它们的风格和特点,给予恰当的评价和应有的肯定,同时也想通过此文引起文物界对民造漆器的关注和研究,厘清各地方漆艺的面貌及特色,以体现清代髹漆工艺的整体面貌。 The Palace Museum contains more than 15,000 pieces of lacquer ware from the Qing Dynasty. They are made up of two parts, the official making and the folk making lacquer, of which more than one-third are made of folk lacquers. This proportion shows that the lacquer ware of the Qing dynasty However, over the years, scholars have rarely involved in the study of this part of lacquerware, so as to affect people’s overall understanding of lacquerware. According to the archives and the physical objects, Guizhou lacquer ware tribute not only the most frequent and the largest number of provinces in tribute lacquer tribute to the court, but also has a strong regional and folk characteristics, occupies a place in the field of paint technology. I use the available information to study, Guizhou lacquer ware from a large number of people in the Qing dynasty lacquer ware to distinguish, summarize their style and characteristics, to give appropriate evaluation and due recognition, but also want to cause through this article heritage community Lacquerware attention and research to clarify the face of all localities and characteristics of lacquer in order to reflect the overall appearance of the Qing Dynasty lacquered lacquer.