CAJ | 학술논문

在明朝建立之初，自洪武至永乐、宣德三朝的宫廷漆器生产相当兴隆。永乐时更设有果园厂，专门制造宫廷所需漆器。其时，皇帝的治国理想与所设定的礼仪蓝图对宫廷艺术的影响几乎无孔不入。从生产组织管理，到设计制作，以致审美情趣，无不体现出一种力图与严密的礼制规范相互匹配的意图。而果园厂的兴衰，以及宫廷漆作组织的转移却在告诉我们，明代宫廷漆器的生产只有在最初被视作典范，除了后来的嘉万朝略有起色之外，实已难以与经受市场竞争所洗礼而充满活力的民间漆艺相媲美。
재명조건립지초，자홍무지영악、선덕삼조적궁정칠기생산상당흥륭。영악시경설유과완엄，전문제조궁정소수칠기。기시，황제적치국이상여소설정적례의람도대궁정예술적영향궤호무공불입。종생산조직관리，도설계제작，이치심미정취，무불체현출일충력도여엄밀적례제규범상호필배적의도。이과완엄적흥쇠，이급궁정칠작조직적전이각재고소아문，명대궁정칠기적생산지유재최초피시작전범，제료후래적가만조략유기색지외，실이난이여경수시장경쟁소세례이충만활력적민간칠예상비미。
In the early Ming dynasty, including the three periods Hongwu, Yongle and Xuande, the royal lacquer production was developed and lfourished, especially in Yongle Years when the Guoyuanchang was set up to produce speciifed lacquers for royal court decoration. At that time, the royal lacquer art was greatly inlfuenced by the national governing ideal of the emperor and the planed etiquette policy. From the organization and management of lacquer production to the product design and production, as well as the aesthetic sentiment, the intention of striving to be matched to the rigorous etiquette rules is relfected from everywhere. With the rise and decline of the Guoyuanchang and the transfer of the production bases, it is obvious that the royal lacquer production of Ming only can be regarded as model in the early period. Even though it recovered a little in the later Jiaqing and Wanli Years, it is truly hard to compete with the energetic folk lacquer art that thrived through the market competition.