CAJ | 학술논문

将东亚地区作为一个艺术研究的范畴，早在19世纪末20世纪初就已风行一时，却因20世纪社会文化对国族概念的迷恋，导致这方面的研究逐渐被以国家为基础的民族艺术研究所掩盖。长北教授《<髹饰录>与东亚漆艺——传统髹饰工艺体系研究》一书以东亚艺术史研究的宏观视野探索东亚漆艺的发展嬗变，通过对古代漆艺经典《髹饰录》的解读以及对东亚诸国漆艺历史与现状的分析比较，清晰地归纳出了以中华漆艺为本源的东亚漆艺发生衍变脉络，勾勒出了东亚漆工艺体系的恢宏图景。
장동아지구작위일개예술연구적범주，조재19세기말20세기초취이풍행일시，각인20세기사회문화대국족개념적미련，도치저방면적연구축점피이국가위기출적민족예술연구소엄개。장북교수《<휴식록>여동아칠예——전통휴식공예체계연구》일서이동아예술사연구적굉관시야탐색동아칠예적발전선변，통과대고대칠예경전《휴식록》적해독이급대동아제국칠예역사여현상적분석비교，청석지귀납출료이중화칠예위본원적동아칠예발생연변맥락，구륵출료동아칠공예체계적회굉도경。
Between 19th and 20th centuries, the concept Eastern Asia was popular in the research of oriental art history, but was declining during the 20th century when the rise of the idea on national art history. Today, Pro. Changbei with the topic of lacquer art returned into the Eastern Asia art history view. In her new work Record of Lacquering and Lacquer Art in Eastern Asia, Changbei explained the classic lacquering text Xiushilu (Record of Lacquering) again, and analyzed and compared the record of it with the lacquer art in the different countries of Eastern Asia. By this way, Changbei concluded a context with Xiushilu as a core of the Eastern Asia lacquer art’s development.