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博物馆设立备案办事指南

一、适用范围本指南适用于广东省辖区内博物馆设立备案的申请和

办理。办理对象为机关、企事业单位、社会团体和个人，实施机关为广东省文物局。

二、申请事项博物馆设立备案。三、法规依据1、《中华人民共和国文物保护法》；2、《博物馆条例》;

5、《博物馆管理办法》（文化部令第 35 号）；6、文化部《博物馆藏品管理办法》；7、国家文物局等 7 部委《关于促进民办博物馆发展的

意见》（文物博发〔2010〕11 号）；

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8、国家文物局《关于民办博物馆设立的指导意见》（文物博发〔2014〕21 号）；

9、国家文物局《关于贯彻执行〈博物馆条例〉的实施意见》（文物博发〔2015〕5 号）；

10、国家文物局编著《<博物馆条例>释义》（中国法制出版社 2015 年 7 月第 1 版）;

11、《博物馆建筑设计规范》（JGJ 66—91）。四、备案数量单项申请。五、备案条件

（一） 经上级行政主管部门或机构编制主管部门批准，总馆下设的分馆

和个人设立的博物馆除外。（二）具有固定的馆址以及符合国家规定的展室、藏

品保管场所。有固定馆舍，符合《博物馆建筑设计规范》。博物馆馆舍应以自有为

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主，租赁馆舍的，租期不得少于 5 年，也可由举办者或他人无偿提供使用馆舍。国有博物馆的注册地，应与其馆舍地址相一致，与其章程中的地址相一致。展厅（室）面积与展览规模相适应，原则上不宜低于 400 平方米。依托古遗址、文物建筑、历史建筑、名人故居、旧址等建立的博物馆、社区微型博物馆和专题类博物馆，面积可适当放宽。不应租借其他博物馆作为办馆场地，也不应使用其他不适合办馆或有安全隐患的场地作为办馆场所。　　（三）相应数量的藏品以及必要的研究资料，并能够形成陈列展览体系。

藏品自成体系，经 3 名以上省文物鉴定委员会委员或相关专业人员鉴定为真实，总数不少于 300 件（套）。藏品保管

符合国家相关管理规定，并建立藏品保管制度和符合规范的藏品档案。依托历史建筑、故居、旧址等不可移动的文化遗产实物并以其为主

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要保护、研究、展示内容的博物馆，以及以大体量实物收藏为主的博物馆，藏品数量要求可适当放宽。　　

（四）具有与办馆规模和功能相适应的专业技术和管理人员。

总从业人员不少于 6 人，依托古遗址、文物建筑、历史建筑、名人故居、旧址等建立的博物馆、社区微型博物馆和专题类博物馆，人员数量可适当放宽。博物馆应配备具有相关领域学术专长和一定博物馆从业经验、无不良从业记录的专职馆长或副馆长。

（五）具有必要的办馆资金和稳定的经费来源。博物馆举办者应深入评估、充分保障正常开放和发展所

需经费。国有博物馆的正常运行经费列入本级财政预算，其中每个年度财政业务运营经费投入不少于 5 万元（不含人员工资福利）。非国有博物馆办馆注册资金不低于 50 万元人民币。依托古遗址、文物建筑、历史建筑、名人故居、旧址等建立的博物馆、社

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区微型博物馆和专题类博物馆，办馆资金可适当放宽。（六）具有或承诺有定期对公众开放的陈列展览，陈列展览的主题和

内容符合《博物馆条例》的相关规范，拟公开展示的展品不会对社会造成不良影响或对公从造成误导。

（七）具备符合开放条件的、确保观众人身安全的消防和安防设施及应急预案。

博物馆馆舍建设应当坚持新建馆舍和改造现有建筑相结合，鼓励利用名人故居、工业遗产等作为博物馆馆舍，新建、改建馆舍应当提高藏品展陈和保管面积占总面积的比重。（八）博物馆的命名 博物馆命名应当遵循“行政区域（具体到县、市、区）＋字号＋种类＋博物馆”的原则，如东莞市唯美陶瓷博物馆。冠名“中国”的博物馆，须经国家有关行政主管部门批准。除经省人民政府或省直业务行政主管部门批准成立的外，不宜冠名“广东”。除经相关行政部门批准的可以代表相关

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文化或行业的可以代表公共利益的国有博物馆，考虑到公平原则，为保障未来其他可能申请设立的博物馆的利益，非国有博物馆命名不宜以泛文化、泛行业的字眼命名，如广州市动漫博物馆、中山市家具博物馆、潮州市潮州木雕博物馆、河源市客家文化博物馆。 六、申请材料

（一）提交申请1、通过广东省网上办事大厅进行申请办理。（网址：

http://www.gdbs.gov.cn/），进入广东省网上办事大厅网站后，选择“省直窗口-->省文化厅-->公共服务-->博物馆设立备案-->在线办理”。通过审核的申请，由文化厅联系申请人，可以按照下一条款准备纸质材料，正式递交。

2、若附件过大无法通过网上办事大厅申请，申请人可与经办人员确认后，通过邮件或到文化厅办事窗口当面

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提交申请，经受理窗口现场确认后，当场办理。不符合以下条件的，不予受理。

（1）材料份数：所有材料一式一份，按照清单顺序依次排列，A4纸大小，左侧装订。

（2）色彩要求：材料（四）的馆舍总平面图，馆舍总体和各部分照片，以及材料（七）的藏品目录，均应以彩色方式打印并呈现。

（3）电子材料：各项材料请按照清单命名，按照顺序排列；涉及到署名、盖章的申报材料应提供 PDF格式彩色扫描件 ； 不涉及署名 、盖章 的 文字材料， 可 以是WORD、EXCEL 等可编辑格式。

（二）材料清单1、博物馆设立备案申请表（按范本格式，范本下载见

第十三相关问题（三），下同）；2、藏品鉴定证明文件；

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3、由省文物行政部门委托的、属于全省性博物馆行业组织的、第三方评估机构出具的符合博物馆设立备案条件的评估意见（省博协联系方式见第十三相关问题（二））；

4、博物馆章程草案（按范本格式）；5、馆舍所有权或者使用权证明；6、馆舍总平面图，馆舍总体和各部分照片；7、消防部门出具的办馆场所的消防合格意见书或备案

文件（具体形式以消防部门出具的文件为准）；8、藏品概述（按范本格式）；9、藏品目录（按范本格式）；10、藏品合法来源说明（按范本格式）；11、博物馆从业人员登记表（按范本格式）；12、博物馆基本陈列展览方案（参考范本格式）；13、对外开放安全应急预案；

　　14、举办者身份证明文件；

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15、编制或行政主管部门批准博物馆成立的文件（此项仅由国有和企业、行业组织设立的博物馆提供）；

16、办馆资金来源证明文件，国有博物馆由财政部门或其上级主管部门提供的开办费证明文件；非国有博物馆由会计事务所或审计事务所等机构出具的证明资金真实性的验资报告，确实无法提供的，以承诺书代替，承诺该笔资金仅用于博物馆设立及后续发展，不用于博物馆之外的其他用途，并签字或盖章。

（三）配套制度1.撤销有下列情形之一的，依法撤销备案，书面告知申请人

并说明理由：（1）审核人员滥用职权，玩忽职守作出备案的（2）超越法定职权作出备案的（3）违反法定程序作出备案的

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（4）对不具备申请资格或者不符合法定条件的申请人作出备案的

（5）提交虚假材料或者以欺骗等不正当手段获得备案的

（6）依法可以撤销备案的其他情形2.主动变更或撤回申请人在文物行政部门作出备案之前书面申请撤回备

案申请的，应当终止备案，并书面通知申请人。申请人有权在备案过程中主动变更或撤回申请。七、公开制度通过大网上办事大厅申请的，申请人可通过网上办事

大厅查询备案进度和结果。申请人通过其它形式提交申请的，将按照网上公开的

办理期限，电话通知或短信通知申请人携带有效证明来领取批准文书；申请人选择挂号信或快递到付的，在收到备案文书后应告知文物行政部门。

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八、备案时限受理期限：5 个工作日。申报材料符合受理条件的，5

个工作日内予以受理；不符合条件的，5 个工作日内一次性告知相对人；5 个工作日内未予答复的，视为受理。

办理期限：20 个工作日。九、批准文书博物馆设立备案通知书。十、收费依据及标准不收费十一、申请人权利和义务（一）申请人依法享有以下权利1.依法享有知情权、陈述权、申辩权2.合法权益因文物行政部门违法实施备案受到损害的，

有权依法要求赔偿（二）申请人依法履行以下义务如实向文物行政部门提交有关材料和反映真实情况，

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并对其申请材料实质内容的真实性负责。十二、联系方式（一）办理地点1.部门名称：广东省文化厅（广东省文物局）2.部门地址：广东省广州市越秀区东风东路701号（二）办理时间法定办公时间。（三）咨询途径1.窗口咨询：广东省广州市越秀区东风东路701号2.电话咨询：020-37803849

3.网上咨询：www.gdwht.gov.cn

4.信函咨询：广东省广州市越秀区东风东路701号广东省文物局，510080

（四）投诉监督电话：020-37803859

邮箱：gdwenwuju@163.com

十三、相关问题

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（一）在网上办事大厅申请时附件无法提交怎么办？答：目前进行该事项申请原则上要求全部通过网上办

事大厅进行。但由于技术原因，网上办事大厅无法上传单个大于300M的附件。若申请时附件过大，无法上传，经与经办人员沟通后，可以通过纸质件报送。

（二）如何联系全省性博物馆行业组织？答：目前，全省性博物馆行业组织为广东省博物馆协

会，由开展博物馆有关业务的组织和个人自愿组成的全省性、专业性、非营利性的合法社会团体。地址：广州市天河区珠江东路 2 号 ， 广 东 省 博 物 馆协会秘书处，邮编：510623 ； 咨 询 电 话 ： 020-38046808 ； 电 子 邮 箱gdmuseuma@126.com。

申请的博物馆应当在省博物馆协会的指导和要求下，逐项规范博物馆的管理和运作，准备相关申请资料。在省博物馆协会实地评估之后，准备相关申请资料及省博物馆协会关于博物馆符合设立备案条件的评估意见，通过网上办事大厅申请办理博物馆设立备案。

（三）相关材料的范本在哪里可以找到？答：以下材料，请按照或参照范本格式来准备，包括：

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1、博物馆设立备案申请表（见附件 1）；2、博物馆章程草案（见附件 2，范本中包括国有博物

馆章程草案和非国有博物馆章程草案，请分别对照编写本馆章程草案）；

3、消防部门出具的办馆场所的消防合格意见样本或备案凭证（具体以消防部门出具的文件形式为准）；

4、藏品概述（见附件 3）；5、藏品目录（见附件 4）；6、藏品合法来源说明（见附件 5）；7、博物馆从业人员登记表（见附件 6）；8、博物馆基本陈列展览方案（见附件 7）；

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附件 1：博物馆设立备案申请表

单位信息

名称举办者通讯地址联系电话 手机网址

公众微信号 微博

法人代表

姓名 性别出生年月 职称职务业务专长 联系方式身份证号

从业人员

职员总数 管理人员总数高级职称人数 中级职称人数

藏品 藏品类型 藏品来源藏品总数

展览 基本展览名称开放 年度开放时间 是否免费资金 开办资金 经费来源馆舍情况

占地面积 建筑面积展览面积 库房面积

业务联系

为保障博物馆与各级文物主管部门的日常业务联系，以下为日常联系人姓名 电话手机 电子邮箱

签字盖章

申请材料属实，数据准确可靠，特申请博物馆设立备案。 举办者：

申请日期：

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附件 2：国有博物馆章程范本

（适用于建立理事会的国有博物馆）

此项文本来源为国家文物局《关于转发<国有博物馆章程范本>的通知》 （文物博函〔2016〕1080）。

目 录序言第一章 总则第二章 举办单位第三章 理事会第四章 管理层第五章 职工第六章 藏品展示、保护、管理、处置第七章 资产管理与使用第八章 信息披露第九章 终止和剩余资产处理第十章 章程修改第十一章 附则   

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序 言     （简要概述本馆的历史沿革、基本情况，体现本馆特

色） 

第一章总则 

第一条 为促进和保障博物馆依法办馆、科学发展，规范本馆各项业务工作，确保公共文化服务、公共信托职能的实现，根据《中华人民共和国文物保护法》、《事业单位登记管理暂行条例》、《博物馆条例》及其他有关规定，制定本章程。

第二条 本馆名称为 （英文名称为 ）。本馆住所为 ,网址： 。第三条 本馆的举办单位是 ，登记管理机关是 。第四条 本馆的经费来源为 ，开办资金为 。第五条 本馆是非营利性事业单位，具有独立法人资格，

依法享有和履行相应权利义务，独立承担法律责任。第六条 本馆的宗旨是： 。（示例：作为为社会及其发展服务的、向公众开放的非

营利性常设机构，以教育、研究、欣赏为目的，收藏、保护并

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向公众展示人类活动和自然环境的见证物。）第七条 本馆的业务范围是：（一）征集、保管、保护、研究文物、标本、文献、艺术品；（二）举办各类展览，开展社会教育活动；（三）传播、弘扬历史、科学、文化和艺术知识；（四）符合本章程的博物馆其它业务范围。 

第二章 举办单位 

第八条 举办单位的权利:（一）提出本馆的宗旨和业务范围；（二）组建本馆第一届理事会； （三）向本馆理事会委派有关理事； （四）提名并任免馆长、副馆长；按照有关程序任免党

组织负责人； （五）审核本馆章程草案及章程修改草案； （六）批准本馆理事会工作报告； （七）支持理事会依照相关法律法规和本章程履行职

责； （八）监督本馆运行； （九）履行法律法规及其它规定明确的举办单位职责。

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第九条 举办单位的义务：（一）支持本馆依照法律、法规、规章和本章程自主办

馆，制止或者排除侵害或妨碍本馆行使自主权的行为；（二）为本馆提供稳定增长的办馆资金和相关资源，

提供必备的办馆保障条件和必要的政策支持；（三）维护本馆合法权益，支持与引导本馆发展；（四）法律、法规规定的其他义务。 

第三章 理事会 

第一节 理事会的构成和职责第十条 理事会是本馆的决策、监督机构，理事会向举

办单位报告工作。理事会每届任期 年。（注：规模较大的博物馆可单独设立监事会。单独设立

监事会的，应增加相应章节载明监事会职责、监事会会议规则，监事长及监事产生方式等。）

第十一条 本馆理事会成员 名，采用委派、征选或推选方式产生，由举办单位履行任免程序，其来源与名额、产生方式为：

举办单位或政府部门代表 名，由举办单位或相关政府

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部门委派产生；社会公众代表 名，包括各利益相关方代表、专家代表、

观众代表，由举办单位面向社会征选；本馆代表 名，其中馆长、党组织负责人为当然理事，

其余 名由本馆推选产生。理事会设秘书1人，负责日常联络、会议记录、文稿起草、

档案管理等工作。该职务没有发言权、提议权和表决权。第十二条 理事会的基本职责：（一）确保博物馆的宗旨、业务范围和目的的持续性；（二）鼓励公众积极参与博物馆的各项业务活动；（三）根据博物馆的宗旨和业务范围提供相应支持，

确保藏品及文物在当前和未来的安全和维护；（四）确保博物馆能最广泛地为公众服务；（五）支持博物馆通过研究，客观准确地诠释和传播

有关藏品及文物的知识；（六）根据博物馆的宗旨和业务范围，监察和批准各

项制度并监督这些制度的执行；（七）审议博物馆中长期发展规划，审议和批准博物

馆目标和实现途径，监督博物馆计划的执行；（八）通过审查、批准、监督预算和财务报告，决策博

物馆财政预算支出和募集资金，保证博物馆的财政稳定；

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（九）选举产生理事长、副理事长，审议馆长、副馆长人选，评估管理层的工作；

（十）确保博物馆有充足的人员实施博物馆的各项功能；

（十一）审议本馆内部薪酬分配方案、内设和分支机构设置方案；

（十二）本届理事会任期届满前三个月负责组建下届理事会，并报举办单位审议；

（十三）履行法律法规及其它规定明确的理事会职责。第十三条 理事会向举办单位提交年度工作报告和重大

事项专题报告。理事会通过的决议按管理权限须报有关部门批准或备案的，应报有关部门批准或备案。

第十四条 第一届理事会由举办单位组织；理事会换届改选时，由举办单位、本届理事会共同组织，按程序选举新一届理事。

 第二节 理事

第十五条 理事每届任期与理事会任期相同。任期届满，根据工作需要可以连选连任，但任期最长不超过两届。举办单位或政府部门委派的理事年龄不得超过60岁，社会人士年龄原则上不超过70岁；

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第十六条 理事为非受薪的社会公益职位，不得因理事资格领取薪酬；因履行理事职责产生的交通、通讯等相关补贴，可按有关规定从本馆经费中列支。

第十七条 理事任职资格：（一）熟悉并遵守有关法律法规和国家政策；（二）热心社会公益，热爱文博事业，能维护本馆的

权益和社会声誉；（三）在所在行业具有一定资历和良好声望，能客观、

独立表达意见；（四）无记过以上行政处分、无违法犯罪、失信记录，

且具有完全民事行为能力。第十八条 理事享有以下权利：（一）出席理事会会议，享有发言权、提议权、表决权、

选举权和被选举权；（二）对理事会会议和本馆重大事项的知情权、建议权

和监督权；（三）提议召开临时理事会会议；（四）理事会赋予的其他权利。第十九条 理事应当履行以下义务：（一）遵守有关法律、法规和本章程，在理事职责范围

内行使权利，认真履行职责；

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（二）及时向本馆反映社会各界的意见与建议，广泛引导和争取社会资源支持本馆事业发展；

（三）按时参加理事会会议及相关活动，遵守并执行理事会会议决议；

（四）遵守理事会规定的其他义务。第二十条 理事履职过程中不得有以下情形：（一）擅自公开或使用本馆涉密信息；（二）凭借理事身份为本人或者他人谋取不当利益；（三）以违背本章程规定和精神的方式干扰本馆正常

运作；（四）从事其他与理事身份不符的行为。第二十一条 理事可以在任期内提出辞职。辞职应向理

事会递交书面申请，经理事会表决通过后，理事资格方可终止。委派的理事辞职须经委派方同意。

第二十二条 理事发生以下情形的，理事会应按程序终止其理事资格：

（一）任期内无正当理由连续两次或累计三次不参加理事会会议的；

（二）因本人身体健康和工作等原因，无法继续履行理事职责的；

（三）不能履行理事职责与义务、损害公共利益或本馆

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利益的；（四）违反法律法规，被追究行政或刑事责任的；（五）法律法规和本章程规定的其他情形。第二十三条 委派或推选的理事任期内因故变动需更换，

由委派方或推选方提出人选，经理事会表决通过后，按理事原产生方式及程序予以更换。

第二十四条 理事出现空缺，应及时按原产生方式及程序填补缺额。新任理事任期为当届理事余下任期。

 第三节 理事长

第二十五条 理事会设理事长一名，副理事长 名。理事长由举办单位提名，理事会选举任命；副理事长由理事长提名，理事会选举任命。

第二十六条 理事长行使以下职权：（一）引导理事会完成其职权，支持本馆实现各项发

展目标；（二）确定理事会的议题，召集并主持理事会会议；（三）督促、检查理事会决议的实施情况；（四）代表理事会签署有关文件；（五）法律法规和理事会授予的其他职权。第二十七条 副理事长协助理事长工作。理事长可委托

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副理事长代行相关职权。第四节 理事会会议

第二十八条 理事会会议一般由理事长召集和主持。每年应至少召开两次理事会会议，会议召开前十日书面通知全体理事。理事会会议应有三分之二以上的理事出席方可举行。

第二十九条 理事长认为必要时，或有三分之一以上理事联名提议时，可召开理事会临时会议，并于会议召开前五日书面通知全体理事。

第三十条 理事会实行民主集中制。采用记名方式投票表决，每名理事享有一票表决权。理事会决议一般事项须经全部理事的半数以上通过，重大事项须经全部理事的三分之二以上通过方可生效。重大事项如下：（一）拟定及修订本馆章程；（二）审议本馆中长期发展战略和发展规划；（三）审议本馆重大财务事项；（四）审议本馆内部薪酬分配方案；（五）审议本馆机构设置方案；（六）审议馆长、副馆长人选；（七）审议决定本馆理事会成员的聘任和解聘。

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第三十一条 理事会会议应当制作会议记录。出席会议的理事和记录人，应当在会议记录上签名。形成决议的，应当制作会议纪要，并由出席会议的理事审阅、签名。理事会会议记录应当作为本馆重要档案妥善保管。

第三十二条 理事会会议记录应当载明以下内容：（一）出席会议的理事人员、列席人员、缺席理事及缺

席事由；（二）会议的日期、地点；（三）主要议题及议程；（四）参会理事的发言要点；（五）提交表决事项的表决结果；（六）理事会认为应当载入会议记录的其他内容。第三十三条 理事会决议违反法律、法规或本单位章程

规定，致使本馆利益遭受损失的，参与决议的理事应当承担责任。经证明在表决时反对并记载于会议记录的，该理事可免除责任。

 第四章 管理层

 第三十四条 本馆管理层是理事会的执行机构，向理事

会负责，由馆长、党组织负责人、副馆长和其他核心管理人

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员组成，实行馆长负责制。第三十五条 馆长、副馆长由举办单位提名，经理事会

审议同意后，由举办单位按干部管理权限任免；党组织负责人由举办单位按照有关程序任免。

第三十六条 管理层履行下列职责：（一）组织实施理事会的决议，接受理事会的监督；（二）编制博物馆发展规划，组织开展业务活动，实

施年度工作计划等日常工作管理；（三）编制并组织实施经费预算等财务资产管理；（四）按照相关条例做好职工招聘、岗位晋升、人员管

理、内设或分支机构的设置、薪酬发放等工作；（五）做好文物安全工作、保障本馆内参观及活动人群

的安全；（六）根据工作需要可提议设立发展规划、薪酬与考核、

展览陈列、藏品征集与保护等咨询委员会或专业委员会。第三十七条 馆长作为拟任法定代表人人选，经登记管

理机关核准登记后，取得本馆法定代表人资格。 馆长行使下列职责：（一）全面负责本单位业务、人事、财务、资产、征集等

各项管理工作；（二）组织制定本馆内设机构设置方案和基本管理制

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度；（三）按照理事会决议主持开展工作；（四）法律法规和本章程规定的其他职责。第三十八条 副馆长协助馆长工作。馆长因故临时不能

行使职权时，指定副馆长代行其职权。 

第五章 职工 

第三十九条 本馆职工由专业技术人员、管理人员、工勤人员等组成。

第四十条 本馆按照事业单位人事管理的有关规定对职工进行管理。招聘、聘用、考核、晋升、奖惩等具体办法由本馆或本馆授权的相关职能部门依法另行制定和实施。

第四十一条 职工根据法律、行政法规、规章以及本章程的规定享有下列基本权利：

（一）开展岗位要求的工作，按其岗位职责和贡献程度依据有关规定领取相应薪酬；

（二）对博物馆事务提出意见和建议，通过职工代表大会等参与民主管理；

（三）公平地获得个人发展所需的相应工作、学习和交流的机会；

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（四）在工作业绩、工作能力等方面获得公正评价，公平地获得各级各类奖励及各种荣誉称号；

（五）对职称、待遇、纪律处分等涉及其切身利益的相关决定表达异议，提出申诉，并请求处理；

（六）法律、行政法规、规章、章程以及博物馆规章制度或者聘约规定的其他权利。

第四十二条　职工根据法律、行政法规、规章以及本章程的规定应当履行下列基本义务：

（一）遵守宪法、法律和博物馆职业道德，不断提高思想政治觉悟和业务水平；

（二）珍惜爱护博物馆声誉，维护博物馆利益，遵守博物馆各项规章制度；

（三）勤奋工作，恪尽职守，完成岗位要求的工作任务；

（四）法律、行政法规、规章、章程以及本馆规章制度或者聘约规定的其他义务。

 

第六章  藏品展示、保护、管理、处置

第四十三条 本馆坚持博物馆公共信托职责，所有藏品均为永久性收藏，按照有关法律法规合法保藏和利用。

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第四十四条 本馆应当建立完备的藏品账目及档案，区分文物藏品等级、单独设置文物档案，建立严格的管理制度，并报文物主管部门备案。

第四十五条 本馆法定代表人对藏品安全负责，法定代表人、藏品管理人员离任前，应当办结藏品移交手续。

第四十六条 本馆举办陈列展览，开展社会教育和公众服务，其主题和内容应当符合宪法所确定的基本原则和维护国家安全与民族团结、弘扬爱国主义、倡导科学精神、普及科学知识、传播优秀文化、培养良好风尚、促进社会和谐、推动社会文明进步的要求。

第四十七条 本馆不得从事文物等藏品的商业经营活动。从事其他商业经营活动，不得违反办馆宗旨，不得损害观众利益。

第四十八条 本馆终止后，藏品处置依照有关文物保护法律法规的规定处理。

 

第七章 资产的管理和使用 

第四十九条 本馆的合法资产受法律保护，任何单位、个人不得侵占、私分、挪用。

第五十条 本馆的经费使用应符合本馆的宗旨和业务范

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围。第五十一条 本馆执行国家统一的事业单位会计制度，

依法接受税务、会计、审计等主管部门监督。第五十二条 本馆的人员工资、社保、福利待遇按照国家

有关规定执行。第五十三条 理事会换届和本馆的法定代表人离任前，

应当进行经济责任审计。  

第八章 信息披露 

第五十四条 本馆承诺按照相关法律法规、政策和登记管理机关的规定，真实、完整、及时地披露应当公开的相关信息。

第五十五条 信息披露的主要形式：单位年报、职工大会、公示栏和相关新闻媒体及网站。

 第九章 终止和剩余资产处理

 

第五十六条 本馆有以下情形之一，应当终止：（一）经审批机关决定撤销；（二）合并、分立；

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（三）因其他原因依法应当终止的。第五十七条 本馆在申请注销登记前，理事会在举办单

位和有关机关的指导下，成立清算组织，开展清算工作。清算期间不开展清算以外的任何活动。

第五十八条 本馆所有藏品及文物，应由政府主管部门组织清点封存，可划拨其他博物馆等机构用于公益性目的不得用于清算偿债。

第五十九条 清算工作结束，形成清算报告，经理事会通过，报举办单位审查同意后，向登记管理机关申请注销登记。

第六十条 本馆终止后的其他剩余资产，在相关政府部门的监督下，按照有关法律法规和本馆章程进行处置。

 第十章 章程修改

 

第六十一条 本馆有下列情形之一的，应修改章程：（一）章程规定的事项与修改后的国家法律、行政法规

的规定不符的；（二）章程内容与实际情况不符的；（三）理事会认为应当修改章程的其他情形。第六十二条 理事会决议通过的章程修改案，经举办单

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位审查同意后，报登记管理机关核准备案。涉及事业单位法人登记事项的，须向登记管理机关申请变更登记。

 第十一章 附则

 

第六十三条 本章程经 年 月 日理事会表决通过。自事业单位登记管理机关核准备案之日起生效。

第六十四条 本章程中的各项条款与法律、法规不符的，以法律、法规的规定为准。涉及事业单位法人登记事项的，以登记管理机关核准颁发的《事业单位法人证书》刊载内容为准。

第六十五条 本章程解释权属于本馆理事会。

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非国有博物馆章程示范文本范本来源：国家文物局 2016 年 12 月 30日《关于印发

<非国有博物馆章程示范文本>的通知》（文物博发〔2016〕29 号），此前广东省文物局编制的非国有博物馆章程范本废止，统一按照国家文物局范本编制。

目 录

说明 第一章 总则 第二章 举办者、开办资金和业务范围 第三章 组织管理制度 第四章 法定代表人 第五章 藏品管理与展示服务 第六章 资产管理、使用原则与劳动用工制度 第七章 章程的修改 第八章 终止程序和终止后资产的处理 第九章 附则

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<说 明>

一、根据《博物馆条例》、《民办非企业单位登记管理暂行条例》、《民办非企业单位（法人）章程示范文本》等有关法律法规，制定本示范文本。

二、本示范文本旨在为非国有博物馆制定章程提供范例。三、〔 〕内文字为基本要求，＊为可选项，可以根据实

际情况作适当补充。第一章 总则

第一条 本博物馆的名称是 。〔名称应当符合《博物馆条例》和《民办非企业单位名称

管理暂行规定》的规定〕第二条 本博物馆的性质是利用或者主要利用非国有资

产自愿举办的，经登记管理机关依法登记的非营利组织。第三条 本博物馆遵守宪法、法律、法规和国家政策，遵

守社会道德风尚，信守博物馆职业道德，提供诚信服务。

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本博物馆的宗旨是 。〔必须载明：以教育、研究和欣赏为目的，收藏、保护并

向公众展示（概述基于本馆定位的藏品体系），为经济社会及人的可持续发展服务〕。

第四条 本博物馆的登记管理机关是 ；本博物馆的业务主管单位是 。

本博物馆按照《博物馆条例》、《民办非企业单位登记管理暂行条例》的规定，自觉接受登记管理机关、业务主管单位及相关职能部门的监督管理。

〔业务主管单位为省级文物行政部门，下同〕第五条 本博物馆的住所地是 。 〔如：××省（自治区、直辖市）××市（区、县）〕第六条 本章程中的各项条款与法律、法规、规章不符的，

以法律、法规、规章的规定为准。第二章 举办者、开办藏品、资金和业务范围

第七条 本博物馆的举办者是 。举办者享有下列权利：（一）了解本博物馆经营状况和财务状况；（二）推荐理事会、监事会的理事和监事人选；（三）有权查阅理事会会议记录和本博物馆财务会计

报告；

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（四）可以依法以举办者的姓名、名称作为博物馆馆名；………………………。举办者履行下列义务： （一）遵守法律、行政法规及博物馆章程；（二）协助理事会为博物馆运营提供保障经费；（三）不得滥用举办者权利损害博物馆法人独立地位

和利益；（四）在博物馆办理登记注册手续后，不得抽回、撤回、

转移所提供的藏品、资金等资产；（五）不得要求分红；………………………。第八条 本博物馆开办藏品： 件（套）;开办资金: 元。

〔开办藏品、资金应符合有关法律法规的规定；若存在

多个出资者，应分别载明每位出资者提供的藏品数量和出资金额〕

第九条 本博物馆的业务范围：（一）藏品收藏： ；（二）陈列展览: ；（三）学术研究： ；（四）社会教育： ；

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……………………………………………。〔必须具体明确，与业务主管单位确认的业务范围一

致〕第十条 举办者向博物馆提供的藏品，应依法办理财产

权转移手续；举办者提供的开办资金，应通过会计师事务所办理验资。开办藏品、资金转移手续完成后，相应藏品、资金等资产即为本博物馆法人财产。

〔藏品财产权转移通过签订捐赠协议予以明确〕第十一条 本博物馆成立后，向举办者签发接受出资证

明书。出资证明书内容包括：（一）博物馆名称；（二）博

物馆成立日期；（三）博物馆注册藏品、资金；（四）举办者的名称及其提供的藏品、资金和出资日期；（五）出资证明书的编号和核发日期。

出资证明书由博物馆盖章。第三章 组织管理制度

第十二条 本博物馆设理事会，其成员为 名，理事会是本博物馆的决策机构。

理事每届任期 年，任期届满，连选可以连任。〔理事会成员为 3-25 人，以单数为宜；理事每届任期

3 年或 4 年〕

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第十三条 理事由举办者（包括出资者）代表、职工代表和社会人士代表（政府部门代表、专家代表、公众代表）组成，理事来源、名额和产生方式为：

举办者（包括出资者）代表 名，由举办者（包括出资者）推选产生；

职工代表 名，由全体职工推选产生；社会人士代表 名，其中包括政府部门代表 名，由有

关单位推选产生，其余通过邀请或征选的形式产生。〔有关单位包括省级文物行政部门或博物馆所在地政府

民政、财政、文物等相关部门，下同。凡接受政府资助或有政府财产投入的非国有博物馆，必须有业务主管单位推荐的理事参与治理〕

第十四条 理事会行使下列事项的决定权：（一） 制订、修改博物馆章程；（二） 制订、审议博物馆中长期发展规划和年度计划，

确保博物馆的宗旨、业务范围和目的的持续性； （三） 制订、审议博物馆收藏、展览、科研、教育的方针

政策，确保博物馆能最广泛地为公众服务；（四） 支持博物馆通过研究客观准确地诠释和传播有

关藏品及文物的知识；（五） 根据博物馆的宗旨和业务范围审议和批准各项

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内部管理制度并监督制度的执行；（六） 审议、批准、监督博物馆财务预算、决算方案，

对博物馆重大财务支出、募集资金、增加开办资金等事项行使决策权，监管博物馆法人财产，确保博物馆拥有独立、稳定的法人财产权；

（七） 审议、批准、监督博物馆征集、接受捐赠和处置藏品的有关方案，监督博物馆藏品管理工作，确保博物馆藏品妥善管理和有序传承；

（八） 选举产生理事长、副理事长，罢免、增补理事；（九） 聘任或解聘馆长，根据馆长提名聘任或者解聘

本博物馆的副馆长和财务负责人；（十） 审议本馆内部薪酬分配方案、内部机构设置方案；（十一） 在本届理事会任期届满前拟定下届理事会组

织方案，主持理事会换届事宜；　　（十二） 决定博物馆的分立、合并或终止，在博物馆终

止时负责拟定藏品及法人财产处置方案； （十三）为博物馆运营筹集保障经费；（十四）履行法律法规及其它规定明确的理事会职责。………………………………。第十五条 理事会设理事长 1 名，副理事长 1－2 名。理

事长、副理事长由理事会以全体理事的过半数选举产生或罢

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免。第十六条 副理事长协助理事长工作，理事长不能行使

职权时，由理事长指定的副理事长代其行使职权。第十七条 理事会会议每年召开 次〔至少两次〕。有下列

情形之一的,应当召开理事会会议：（一）理事长认为必要时；（二）1/3 以上理事联名提议时。第十八条 召开理事会会议，应于会议召开 10日前将

会议的时间、地点、内容等通知全体理事。理事因故不能出席的，可以书面委托其他理事代为出席理事会，委托书必须载明授权范围。

第十九条 理事会会议应由 1/2 以上的理事出席方可举行。理事会会议实行 1 人 1票制。理事会决议一般事项必须经全体理事的半数以上通过。下列重要事项的决议，须经全体理事的 2/3 以上通过

方为有效：（一） 章程的修改；（二） 博物馆的分立、合并或终止；（三） 藏品注销及处置；………………………………………。凡接受政府资助的藏品、资金等资产的处置，需经政府

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部门代表理事的同意后，方为有效。第二十条 理事会会议应当制作会议记录。形成决议的，

应当当场制作会议纪要，并由出席会议的理事审阅、签名。理事会决议违反法律、法规或章程规定，致使本博物馆遭受损失的，参与决议的理事应当承担责任；但经证明在表决时有理事反对并记载于会议记录的，持反对意见的理事可免除责任。

理事会记录由理事长指定的人员存档保管。第二十一条 理事长行使下列职权：（一）召集和主持理事会会议；（二）检查理事会决议的实施情况；（三）法律、法规和本博物馆章程规定的其他职权。第二十二条 本博物馆聘任馆长对理事会负责，并行使

下列职权：（一）主持本馆的日常工作，组织实施理事会的决议；（二）组织实施本馆年度业务活动计划；（三）拟订本馆内设机构方案；（四）拟订内部管理制度；（五）提请聘任或解聘副馆长和财务负责人；（六）聘任或解聘内设机构负责人；………………………………………。

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馆长列席理事会会议。第二十三条 本博物馆设监事（或监事会），其成员为

人。监事任期与理事任期相同，任期届满，可以连选连任。〔监事会成员为不得少于 3 人的单数，并推选 1 名召集

人。人数较少的非国有博物馆可不设监事会，但必须设 1-2名监事〕

第二十四条 监事在举办者（包括出资者）、本博物馆职工或有关单位推荐的人员中产生或更换。监事会中的职工代表由博物馆全体职工民主选举产生。

理事、馆长及财务负责人，不得兼任监事。第二十五条 监事会或监事行使下列职权：（一）依法监督理事会、馆长按照章程开展活动；（二）列席理事会会议，有权向理事会提出质询和建

议； （三）监督法定代表人的工作，检查财务和会计资料；

（四）有权向业务主管单位、登记管理机关及税务、会

计主管部门反映情况；（五）提议召开临时理事会会议，在理事长不履行本

章程规定时召集和主持理事会会议；

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…………………………………。第二十六条 监事会会议实行 1 人 1票制。监事会决议

须经全体监事过半数表决通过，方为有效。第二十七条 本博物馆根据业务建设、管理运行的需要，

设置内部机构，内设机构的名称及其职能如下：（一） 。职能： ；（二） 。职能： ；（三） 。职能： ； …………………………………。＊第二十八条 本博物馆设置学术委员会作为业务咨询

指导机构，学术委员会委员由理事会聘任。学术委员会包括本馆专家和馆外专家。＊第二十九条 学术委员会主要行使以下职责：（一）指导本馆业务工作长远规划和年度计划的拟定；（二）指导重要藏品征集、借用；（三）指导重要陈列展览举办和引进；（四）指导藏品处置意见的拟定；（五）指导重点课题研究及成果推广；…………………………………。

第四章 法定代表人第三十条 本博物馆的法定代表人为 。

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〔法定代表人为理事长或馆长〕 第三十一条 有下列情形之一的，不得担任法定代表人:（一）无民事行为能力或者限制民事行为能力的；（二）因故意犯罪被判处刑罚，自刑罚执行完毕之日

起未逾 5 年的；（三）担任因违法被撤销登记证书的非国有博物馆的

法定代表人，并负有个人责任的，自该博物馆被撤销登记之日起未逾 3 年的；

（四）非中国内地居民的；（五）法律、法规规定不得担任法定代表人的其他情形。

第五章 藏品管理与展示服务第三十二条 本博物馆为践行博物馆使命和服务于公众，

以有限收藏为原则，制定收藏政策、标准和规划并向社会公告，健全具有自身特色的藏品体系。

藏品主要类别如下： （一） ；

（二） ；（三） ； …………………………………。第三十三条 本博物馆藏品取得方式包括：（一）购买；

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（二）接受捐赠；（三）依法交换；（四）法律、行政法规规定的其他合法方式。第三十四条 本博物馆不接收来源不明或者来源不合法

的藏品。第三十五条 本博物馆的藏品属于博物馆所有，任何单

位和个人不得非法侵占、私分和挪用。第三十六条 本博物馆根据相关法律法规及专业标准为

藏品提供恰当的存放和保管场所，对藏品进行恰当的保护、利用和管理。

第三十七条 本博物馆根据专业标准对藏品信息进行完整记录，建立藏品账目及档案。藏品属于文物的，区分文物等级，单独设置文物档案，建立严格的管理制度。

藏品账目及档案、文物藏品档案报业务主管单位备案。第三十八条 本博物馆为藏品创造和保持适宜的安全控

制措施，防范人为或自然因素对藏品安全的威胁。使用藏品时，以藏品安全为前提；当利用与安全不能

兼顾时，以服从安全为原则。第三十九条 本博物馆的法定代表人对藏品安全负责。

法定代表人、藏品管理人员离任前，必须办结藏品移交手续。第四十条 本博物馆对藏品注销从严掌握、谨慎处理。只

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有在符合以下条件时，才可考虑依法注销藏品：（一）不够本馆收藏标准的；（二）因腐蚀损毁等原因无法修复并无继续保存价值

的。第四十一条 本博物馆注销藏品，需由馆长提出申请，

组织专家组评估，经理事会审议、批准，报业务主管单位批准并向社会公示后方可执行。

注销文物藏品，应严格依照有关文物保护法律、行政法规的规定执行。

有政府部门代表参加的非国有博物馆理事会，在审议注销文物藏品议案时，政府部门代表享有一票否决权。

第四十二条 本博物馆对已注销的藏品，可通过捐赠、移交、交换、出售、返还或销毁等方式依法处置。

注销藏品处置方案应当与注销藏品申请一并经理事会审议、批准，报请业务主管单位批准并向社会公示。

注销藏品优先转让给其他博物馆。本博物馆举办者、理事、监事、馆长、职工或其家庭成员

及其他利益相关方，不得以直接或间接的方式获得注销的藏品。

有关注销决定、注销藏品处置方案、处置结果等全部记录，须永久妥善保存。

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第四十三条 从对已注销藏品的处置中获得的资金或其他形式的补偿、收益，仅限用于本博物馆藏品的征集和保护，不得用于其他方面。

第四十四条 本博物馆努力推动分享藏品信息和知识。依托藏品及相关学术研究，举办符合专业标准的陈列展览和知识传播活动，清晰地诠释博物馆的教育目标、理念和措施，保证陈列展览等传播活动所呈现的信息完整、准确、科学，符合学术研究、社会信仰的普遍要求。

第四十五条 本博物馆保证每年向公众开放 个月以上（不得少于 8 个月）；并特别关注未成年人等有特殊需求的人群。

本博物馆积极促进与其他博物馆、教育科研机构及社区的交流合作。

第四十六条 本博物馆每年向社会发布年度报告，公开本博物馆的组织情况、藏品情况、展览活动情况、资产管理使用情况和接受、使用捐赠、资助的有关情况等，主动接受社会监督。

第六章 资产管理、使用原则及劳用工制度第四十七条 本博物馆经费来源：（一）开办资金；（二）政府资助；

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（三）在业务范围内开展服务活动的收入；（四）利息；（五）捐赠；（六）其他合法收入。第四十八条 本博物馆不从事文物等藏品的商业经营活

动。从事其他商业经营活动不得与博物馆性质和宗旨相冲突，必须保证对相关工作项目（陈列、活动）的内容及完整性的控制，不能有损于博物馆标准，不能损害观众利益。

第四十九条 本博物馆应当制定法人财产管理制度，并建立法人财产清单，清单应当报业务主管部门备案。本博物馆的法人财产任何单位、个人不得非法侵占、私分和挪用。

本博物馆资产用于章程规定的业务范围和事业发展，盈余不得分红。

第五十条 本博物馆执行国家规定的会计制度，依法进行会计核算，建立健全内部会计监督制度，保证会计资料合法、真实、准确、完整。

本博物馆接受税务、会计主管部门依法实施的税务监督和会计监督；接受业务主管部门委托审计机构开展的法人财产管理情况（包括藏品管理情况、资产管理使用情况和接受、使用捐赠、资助的有关情况）专项审计。

第五十一条 本博物馆配备具有专业资格的会计人员。

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会计不得兼出纳。会计人员调动工作或离职时，必须与接管人员办清交接手续。

第五十二条 本博物馆换届或更换法定代表人之前必须进行财务审计。

第五十三条 本博物馆按照《民办非企业单位登记管理暂行条例》的规定，自觉接受登记管理机关组织的年度检查。按照《博物馆条例》有关规定，主动向业务主管部门提交藏品、陈列展览等备案材料。

第五十四条 本博物馆根据业务建设、管理运行的需要，选聘专业工作人员和招募义工。劳动用工、社会保险制度按国家法律、法规及国务院劳

动保障行政部门的有关规定执行。本博物馆工作人员不得从事违反国家法律法规、违背博

物馆行业道德规范，损害公共利益或本馆利益的活动。第七章 章程的修改

第五十五条 本博物馆有下列情形之一的，应修改章程：

（一）章程规定的事项与修改后的国家法律、行政法规的规定不符的；

（二）章程内容与实际情况不符的； （三）理事会认为应当修改章程的其他情形。

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第五十六条 本章程的修改，须经理事会决议通过后 15日内，报业务主管单位审查同意，自业务主管单位审查同意之日起 30日内，报登记管理机关核准。

第八章 终止程序和终止后资产的处理第五十七条 本博物馆以永久性为目标，非因下列情形

之一的，不得终止:（一）完成章程规定宗旨和使命的；（二）发生分立、合并的；……………………。第五十八条 本博物馆在理事会关于博物馆终止的决议

通过后 15日内，向登记管理机关和业务主管单位报告。第五十九条 博物馆办理注销登记前，应当在登记管理

机关、业务主管单位和有关机关的指导下成立清算组织，清理资产和债权债务，完成清算工作。清算期间，不进行清算以外的活动。

第六十条 本博物馆终止后，藏品优先转让给宗旨相同或者相近的博物馆。没有宗旨相同或者相近的博物馆接收，由业务主管单位主持转给其他博物馆，并向社会公告。

其他剩余财产，按照有关法律、法规的规定处理。第六十一条 本博物馆自完成清算之日起 15日内，向

登记管理机关办理注销登记，并向业务主管单位报告。

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第六十二条 本博物馆自登记管理机关发出注销登记证明文件之日起，即为终止。

第九章 附则第六十三条 本章程经×年×月×日理事会表决通过。第六十四条 本章程的解释权属理事会。第六十五条 本章程自登记管理机关核准之日起生效。

附件 3：×××博物馆藏品概述

一、×××博物馆的藏品总数为 件（套）。二、藏品主要特色是 。（特色叙述如中国古代陶瓷、中

国古代书画、中国古代玉器、反映服饰行业发展历史的实物、集中体现某地区酒文化发展历程的实物、中医药行业相关文物等）。

三、主要藏品的年代为 。

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四、藏品主要类别有 （以质地分类，如陶瓷、纸质、石质、铁质等）。其中，陶瓷 件（套），家具 件（套），书画 件（套），服饰 件（套）……（根据博物馆情况列举）。

五、藏品的历史、文化、科学价值：

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附件 4：×××博物馆藏品目录

登记日期

总登记号

分类号 名称 时代 数量 尺寸 重量 质地 完残情况

来源 账页页码

藏品图片

备注

备注：图片部分，因篇幅限制，在图标上无法看清楚，以下为藏品图录。

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×××博物馆藏品图录

总登记号 名称 图片

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附件 5：

×××博物馆藏品合法来源说明

×××博物馆的藏品来源符合《中华人民共和国文物保护法》第三十七条规定：博物馆可以通过购买、接受捐赠、依法交换等法律、行政法规规定的方式取得藏品。购买即文物收藏单位向文物商店购买文物或者通过合法拍卖的渠道购买文物，也可以向民间征集文物。属捐赠性质的藏品、资金等资产，须提交捐赠协议，载明捐赠人的姓名、捐资数额、用途和管理方法，以及相关有效证明文件。交换，国有文物收藏单位可以交换文物，但不允许国有文物收藏单位与非国有文物收藏单位之间交换文物。非文物类藏品的获得，也应通过相应的合法渠道进行。我馆藏品主要来源为以下途径：

一、××件藏品的来源是购买（附相关购买凭证）。

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二、××件藏品的来源是接受捐赠（附捐赠协议及相关证明文件）。

三、××件藏品的来源是交换（附相关文件）。四、××件藏品是非文物类藏品，其来源也通过合法

渠道获得（附相关证明）。 五、××件藏品是无法提供相应凭证的藏品，我（们）承诺，这××件均通过合法途径获得，未购买被盗、被抢或者其他来源不合法的文物或藏品。

举办者签名或盖章： 年 月 日

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附件 6：×××博物馆从业人员登记表

序号 姓名 身份证号 性别 工作岗位及职务 学历/职称 博物馆从业经历 联系电话 专职/兼职

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附件 7：×××博物馆×××展览方案范本

说明：陈列展览方案即博物馆展览基本陈列大纲。基本陈列大纲是基于博物馆藏品资源状况和目标观众需求研究基础上，经过专业人员科学研究设计的展览内容方案。其主要内容包括博物馆展览的主题定位、结构框架、重点展示内容以及用于展示的藏品清单等。展览大纲的编撰是博物馆陈列展览不可或缺的前期研究工作，对后期的形式设计、布展施工等环节都有重要的指导性意义。陈列展览方案建议聘请专业人员制作。以下为广东省博物馆基本陈列之一《漆木精华——潮州木雕艺术展览》的陈列大纲，供各博物馆参照，建议赴实地参观对照，对展览大纲的理解会更深入。

漆木精华——潮州木雕艺术展览Beauty Is Gilt Wood

Chaozhou Woodcarving Art Exhibition

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前 言Introduction

第一部分 源流篇History

第一单元 发展期 1. Initiation

第二单元 成熟期 2. Maturation

第三单元 兴盛期 3. Prosperity

第四单元 衰退期 4. Declination

第五单元 复兴期 5. Rerising

第二部分 制作篇 Craftsmanship

第一单元 材料 1.Materials

第二单元 工具 2.Tools

第三单元 雕刻技法 3.Carving Techniques

第一组 沉雕 1)Intaglio

第二组 浮雕 2)Relief

第三组 圆雕Altorelievo

第四组 通雕Openwork

第四单元 制作工序 4.Work Process

第一组 整料 1)Material preparation

第二组 起草图 2)Drafting

第三组 上草图 3)Printing

第四组 凿粗坯 4)Printing

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第五组 细雕刻 5)Fine carving

第六组 髹漆贴金 6)Coating

第三部分 艺术篇Art

第一单元 丰富多彩的题材内容 1. Variety of Themes

第一组 人物类 1）Human Figures

第二组 自然物像类 2）Natural Images

第三组 几何图案类 3）Geometric Patterns

第二单元 形式多样的构图布局 2.Diversity of Composition

1、 第一组 格律体构图 1）Metric Composition

2、 第二组 平视体构图 2）Isometric Composition

第三组 立视体构图 3）Perspective Composition

二、 第三单元 灵活多变的艺术手法 Adaptability of Artistic Skills

1、 第一组 周身布饰 1)Spread Decoration

第二组 巧设路径 2) Artful Cohesion

2、 第三组 合理夸张 3)Adequate Exaggeration

第四组 数艺并施 4) Combined Techniques

第四单元 独具特色的总体装饰 4. Unique Overall Decoration

3、 第一组 黑漆装金 1)Foil coating on black lacquer background

4、 第二组 五彩装金 2)Foil coating on colorful background

第三组 本色素雕 3) Natural color woodcarving

第四组 漆画菁华 4）Lacquer painting

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第四部分 器用篇Utilization

第一单元 建筑饰件 1. Architectural Decorations

第二单元 礼祭器具 2. Ritual Vessels

第三单元 家具陈设 3. Furniture placement

第五部分 欣赏篇 More Exhibits for Appreciation

结束语 Epilog

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前 言 潮州木雕是我国著名的民间传统木雕流派之一，主要流行于粤东的潮州、潮安、饶平、普宁、汕头、澄海、潮阳、揭阳、揭西、惠来等旧潮州府属地区，以此故名。 潮州木雕历史悠久，具有鲜明的地方特色，以饱满繁复、精巧细腻、玲珑剔透、金碧辉煌的艺术风格而著称于世。那美仑美奂、造型各异的器物品类，那生活气息浓郁、民俗意蕴深厚的题材纹饰，那惟妙惟肖、纤毫毕现的雕刻工艺，那豪华富丽、流光溢彩的漆金技法，形象地展示着潮汕人的审美情怀和文化风貌，具有独特的魅力和迷人的风采！

Introduction

Chaozhou woodcarving represents a famous school of folk

woodcarving in China, with great popularity in the Eastern

Guangdong areas historically under the jurisdiction of Chaozhou

Prefecture including Chaozhou, Chao’an, Raoping, Shantou,

Chenghai, Chaoyang, Jieyang and Puning.

Chaozhou woodcarving enjoys a longstanding history with

distinctive local characteristics. This form of art is famous for its

richness and subtlety of details, delicate and elaborate designs,

exquisite craftsmanship and grand look. The magnificent utensils

in various shapes, the decorative patterns with rich sense of life

and profound representation of local culture, the delicate and

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microscopic carving and the splendid and glorious lacquering and

foil coating, are all vivid embodiment of the custom, fashion,

culture and spirit of the Chaozhou-Shantou people, displaying its

unique charm and enchanting elegance.

序 厅 Introductory Hall

展品：（民国）木雕建筑梁架（一套） 高约 600×宽约700cmThe decorative woodcarvings on the beam mounting (Republic of China)

展品：酸枝木镶螺钿双凤花鸟纹大插屏 高 262×宽 178cm

Portable blackwood screen featuring inlaid mother-of-pearl

phoenixes,flowers and birds.

[设计提示]

拟利用木雕建筑构件复原一民居门厅。前言文字作雕刻贴金处理。第一部分 源 流 篇

[部导言]

潮州木雕历史悠久，源远流长。它孕育和萌芽于唐代以前，发展于唐宋，成熟于明代晚期，清代中晚期达到鼎盛阶段，至抗日战争时期逐渐走向衰退。新中国成立后，潮州木雕几经起伏，逐渐恢复，在传承与发扬中加以创新，风采重现，成为中国首批非物质文化遗产名录之一。潮州木雕的发展兴衰，生动地折射着潮汕地区历史和文

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化的变迁，印证着潮汕人善于吸收融汇、精益求精、不懈进取的精神。 History

Chaozhou woodcarving has a profound history, brewing prior to the Tang Dynasty, initiating in the Tang and Song Dynasties, maturing in the late Ming Dynasty, flourishing in the middle and late Qing Dynasty and gradually falling in the period of Anti-Japanese War. Since the founding of the New China, Chaozhou woodcarving has risen and fallen several times. It has a new life in the heritage and carrying forward, included in the First Batch of China Intangible Cultural Heritage. The rise and fall of the Chaozhou woodcarving is a vivid reflection of the twists and turns in history and culture in the Chaozhou-Shantou area, witnessing Chaozhou-Shantou people’s ability to absorb and digest innovations, their unremitting pursuit of improvement and perfection.

[设计提示]

展品有实物、地图、照片、灯箱等，以辅助展品为主，实物展品较少。设计时要尽可能地使实物展品与辅助展品达到和谐统一，以通联式展柜、展壁为主，以满足连续性内容的展示要求。图版：清代潮州府疆域总图（双底接片）

Map of Chaozhou Prefecture in the Qing Dynasty

图片： 潮州古城图 （四底接片）Map of Ancient Chaozhou

第一单元 发展期[单元导言]

唐宋时期，潮州木雕不断发展，木雕制品初具水平，物像造型简洁粗犷，刀法刚劲洗练，风格拙朴浑厚。

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InitiationChaozhou woodcarving initiated in the Tang and Song Dynasties, when the finished woodcarvings were of a steady quality, featuring simple and vigorous figures, confident and clear cutting, and plain and vigorous style.

图片： 木鱼Wooden fish

说明： 唐代制品，原为潮州开元寺僧侣开膳时敲击信号之用。形像古拙浑厚，气韵沉雄，历千余年而不朽，弥足珍贵。Produced in the Tang Dynasty, the wooden fish had once been used by the monks in Kaiyuan Temple to strike the wooden fish as a signal for meals. The wooden fish looks plain and vigorous with a solemn and powerful air. The utensil proves especially precious, as it has remained imperishable through a history of more than a millennium.

图片： 木雕龙头 Wooden dragon

head

说明： 宋代木雕制品，是潮州开元寺悬挂大铜钟的横木，上雕龙头纹饰，俗称“木龙”。雕刻简练粗犷，风格与唐代木鱼近似。Produced in the Song Dynasty, this work is the transverse beam on which hangs the bronze bell of Kaiyuan Temple in Chaozhou. A decorative pattern of dragon head was carved on the beam, which is commonly known as the “wooden dragon”. The rough and bold carving takes after the style of the wooden fish from the Tang Dynasty.

第二单元 成熟期Maturation

[单元导言]

明代，潮汕木雕逐渐应用到建筑、祭器、家居陈设等方面。至明

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代晚期，木雕艺人已能综合运用浮雕、沉雕、圆雕和通雕等多种技法，并从平面雕饰向单层通雕发展，技艺成熟，逐步形成地方风格。雕刻题材丰富，物像造型简练，神态生动逼真，刀法明快有力，具有较高的艺术水平。In the Ming Dynasty, the application of woodcarving for decoration was extended to broader fields including architecture, worship and furnishing. By the late Ming Dynasty, woodcarvers began to combine various carving styles such as relief, intaglio, altorelievo and openwork with a shift from plain carving to single layer openwork, which marked the formation of the local style. These carvings were of high artistic value with their rich themes, plain image patterns, vivid expression and confident cutting.

图片：（明代）木雕府楼猴 Decorative wooden monkeys on the gate tower of Chaozhou Prefecture

Office （Ming Dynasty） 说明： 府楼猴是明代潮州府府衙正门门楼----镇海楼栏杆 108根

望柱头的木雕装饰。雕刻比例准确，线条简练，造型各异，神态生动，具有很高的艺术价值。现藏潮州市博物馆。These monkeys served as the decorative woodcarving on the 108-baluster capitals on the Zhenhai (Sea Dominating) Tower, the main gate tower of the Chaozhou Prefectural Office in the Ming Dynasty. The monkeys are accurately scaled with simple lines, varying images and vivid expressions, hence it has a high artistic value. They are collected in the Chaozhou Museum.

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图片：（明代）庵埠文祠正座梁架

Beam mounting of the main hall of the Confucius Temple (Ming

Dynasty)

说明： 庵埠文祠位于潮安县庵埠镇，建于明天启六年（公元1626 年）。正座梁架上装饰的木雕狮子、大象、飞凤、鱼龙等瑞兽珍禽，雕刻生动传神，代表了明代晚期的木雕水平。Located in Anbu Town, Chao’an , the temple was built in 1626 (6th year of the Tianqi Period, Ming Dynasty). The beam cushions are in the patterns of such auspicious and precious animals as lions, elephants, phoenixes and ichthyosaurs. The lifelike animal images are typical of the woodcarving level of the late Ming Dynasty.

图片：（明代）庵埠文祠正座梁架木雕狮子、鱼化龙Wooden lions on the beam mounting of the main hall of the Confucius Temple in Anbu Town, Chao’an County. (Ming Dynasty)

图片：（明代）庵埠文祠正座梁架木雕鱼化龙Wooden fish & dragon on the beam mounting of the main hall of the Confucius Temple in Anbu Town, Chao’an County (Ming Dynasty)

图片：（明代）黄尚书府木雕穿枋头、驼峰Penetrating tie end and hump decoration in the Residence of Minister Huang in Chaozhou (Ming Dynasty)

说明：黄尚书府位于潮州市西平路，为明崇祯年间礼部尚书黄锦所建，其木雕装饰简练粗犷，具有明代晚期的特点。Located in the north of Xiping Road in Chaozhou, the house was built by

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Huang Jin, Minister of Rites in the Chongzhen Period of the Ming Dynasty. The plain and bold decorative carving was typical of the late Ming Dynasty.

展品：（明代）金漆木雕“文王访贤”花板 H260 　 　 高 62× 宽 38× 厚 5cm

Gilt wood patterned plank featuring the story of King Wenwang Visiting Jiang Shang the Wisdom(Ming Dynasty)

展品：（明代）浮雕“空城计”花板 H260高 62×宽 38×厚5cm

Gilt wood patterned plank featuring the story of the

Stratagem of the Vacant City.(Ming Dynasty)

第三单元 兴盛期Prosperity

[单元导言]

清代，潮汕地区社会相对稳定，经济繁荣，木雕装饰成为社会风尚，特别是晚清时期，发家致富的海外华侨，纷纷出资在家乡大兴土木，营造祠堂、居室，雕梁画栋，豪华壮丽，大大地刺激了木雕艺术的发展。雕刻题材包罗广阔，工艺水平空前提高，多层镂空通雕技术炉火纯青，并与描金漆画、髹漆贴金等多种装饰技法相结合，以构图饱满、精巧细腻、玲珑剔透、金碧辉煌的艺术风格而闻名中外。Chaozhou woodcarving prospered in the Qing Dynasty, especially after the middle period. The stable society and prosperous economy brewed the fashion of decorative woodcarving, which greatly boosted the

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development of woodcarving. Woodcarving of this period features a broad range of themes, unprecedented improvement of craftsmanship, perfected multilayer openwork and the combination of various decorative techniques such as gold-traced lacquer painting, lacquering and foil

coating. All these contribute to a world-renowned artistic style marked by

richness and subtlety of details, delicate and elaborate design, exquisite craftsmanship and grand look.

图 片 ： （ 清 代 ） 陈 氏 家 庙 梁 架 木 雕 装 饰

Decorative carving on the beam mounting in Chen Clan Temple in

Guxi（Qing Dynasty）说明： 古溪陈氏家庙位于揭阳市仙桥镇永东村，建于清雍正年

间，规模宏大，梁柱间多镶嵌人物故事花卉鸟兽饰件，雕工精细，装饰华丽，反映了清代中期潮州木雕的水平。Located in Yongdong Village, Xianqiao Town, Jieyang City, the temple was built in the Yongzheng Period of the Qing Dynasty. The beams and columns of this large-scale temple are decorated with human figures, stories, flowers, birds and animals. The exquisite carving and elaborate patterns reflect Chaozhou woodcarving achievements in the middle Qing Dynasty.

图片：揭阳关帝庙清代木雕装饰 Decorative woodcarving in the Temple of Guan Yu the Military Sage in

Jieyang（Qing Dynasty）

说明： 揭阳关帝庙位于今揭阳市榕城镇，始建于明万历二十九年（公元 1601 年），清乾隆四十二年（公元 1777 年）扩建，光

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绪元年（公元 1875 年）重修。其前厅藻井及前座的木雕多为乾隆年间雕刻，题材丰富多样，整体装饰疏密有致，刀法洗练，线条流畅，人物生动传神，具有较高的艺术欣赏价值。Located in Rongcheng Town in Jieyang City, the temple was built in 1601 (29th year of the Wanli Period , Ming Dynasty), expanded in 1777 (42nd year of the Qianlong Period, Qing Dynasty) and renovated in 1875 (1st year of the Guangxu Period, Qing Dynasty). Most of the woodcarvings in the caisson ceiling of the front hall date back to the Qianlong Period, featuring a rich variety of themes, orderly general arrangement, plain carving, smooth lines and vivid figures, which gives a high artistic value.

图片：揭阳关帝庙前厅清代木雕麻姑献寿

Woodcarving in the front hall featuring the story of Fairy Magu

Endowing Longevity（Qing Dynasty）图片：揭阳关帝庙前厅清代木雕寿星

Woodcarving in the image of the God of Longevity （ Qing

Dynasty）图片： 揭阳关帝庙前厅清代木雕茶具

Woodcarving tea set（Qing Dynasty）图片： （清代）从熙公祠木雕装饰Woodcarving of the Congxi Ancestral Hall （Qing Dynasty）

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a. 拜亭梁架木雕装饰 Decorative woodcarving on the beam mounting of the worship hall

a. b. c.

b. 正座梁架木雕装饰Decorative woodcarving on the beam mounting of the main hall

c.正座后槽梁架木雕装饰Decorative woodcarving on the beam mounting of the

back slope in the main hall

说明： 从熙公祠位于潮安县彩塘镇金砂村，为马来西亚华侨陈旭年汇资兴建，始建于清同治九年（公元 1870 年），竣工于光绪九年（公元 1884 年）。以精巧细腻、玲珑剔透的木雕、石雕装饰而闻名。Located in Jinsha Village, Caitang Town, Chao’an County, the ancestral hall was built with the fund raised by Chen Xunian, a Malaysian Chinese. Construction started in 1870 (9th year of the Tongzhi Period, Qing Dynasty) and was completed in 1884 (9th year of the Guangxu Period ,Qing Dynasty). The reputation of the temple comes from its delicate and exquisite woodcarving and stone carving.

展品：（清代） 通雕蟹篓形梁托 H1578 长 38×宽 28×厚

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16 Crab-cage-shaped carved beam cushion in openwork(Qing Dynasty)

说明：此件原为建筑梁架构件，以具有鲜明地方特色的蟹篓为题材，作品结构紧凑，雕刻粗细适度，既满足了承重的需要，又具有较强的装饰效果，达到了实用与装饰的有机结合。This is an architectural component with distinctive local characteristic theme of crab basket. The work is compact in structure, moderate in thickness, which not only meets the needs of load bearing and but also has a strong decorative effect, achieving an organic combination of practical use and decoration.

展品：清代 通雕博古花卉纹龛门肚 H268 长 80×宽 40×

厚 5Shrine door panel with patterns of flowers and ancient patterns (Qing

Dynasty)

第四单元 衰退期Declination

[单元导言]

民国初期，潮州木雕业上承清代之余绪，得以继续发展，工艺独到之作时有出现。抗战时期，社会动荡不安，经济萧条，民不聊生，百业凋零，昔日繁荣的潮州木雕业萎靡不振，逐渐走向衰退。In the early Republic of China ,Chaozhou woodcarving still extended from the Qing Dynasty and had a further development with frequent sparkles in woodcarving works. The once prosperous Chaozhou woodcarving began to decline from its climax in the period of the Anti-

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Japanese War (1937-1945), due to instable society, depressed economy and lack of means of livelihood.

图片：梅祖家祠拜亭梁架木雕装饰　　Decorative woodcarving on the beam mounting of the worship hall in the Mei Clan Temple

说明： 梅祖家祠坐落在汕头市潮阳区谷饶镇深洋村，为富商陈梅生所建，始建于 1921 年，后因主人去世，家道中落，故时建时停，其木雕构件髹红漆，未贴金箔，别具风格。Located in Shenyang Village, Gurao Town, Chaoyang District , Shantou City, the Mei Clan temple started to be built in 1921 . The woodcarving components were uniquely painted with red lacquer without foil coating due to the death of the owner and the declination of the family.

图片：梅祖家祠正座木雕装饰　　　Decorative woodcarving on the beam mounting of the worship hall in the Mei Clan Ancestral Hall

展品：（民国）浮雕洋车人物花板 H427 长 31×宽 16×

厚 2

Plank in relief featuring the patterns of cars, ricksha s ， and human

figures (Republic of China)

展品：（民国） 浮雕喜鹊牡丹花板 H418 长 60×宽 12×

厚 2Plank in relief featuring the patterns of magpies and peonies (Republic of China)

说明：作品以红漆衬底，上浮雕牡丹喜鹊图案，构图颇为丰满 ，

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较少露底，花瓣、叶脉、羽毛等细部雕刻得尤为细腻传神，花叶圆润丰盈的质感、鸟儿活泼自然的动态尽显。两侧刻有题款：“民国戊辰秋月刊，东升楼王振东置。”The work is designed with magpie and peony on red ground in relief. The composition is quite plump with less exposed ground .Veins, feathers and other fine detail carvings are especially delicate and vivid. Flowers and leaves are carved with a round and vigorous texture. Birds are carved lively and naturally. Inscriptions are engraved on both sides.

展品：（民国）金漆木雕博古人物故事小神龛 H601 高 37 宽 28

厚 15 Small gilt wood shrine featuring ancient patterns, figures and stories (Republic of China)

说明：神椟的两门正背均分六个部分装饰。正面上横肚通雕花鸟图，门肚通雕人物故事，下横肚为黑漆贴金浅浮雕卷草纹。门背面上横肚为镂雕花鸟，门肚为博古图，瓶花、如意、宝鼎、牡丹，以及寓意子孙万代的缠枝葡萄。椟内饰缠枝松鼠葡萄纹落地罩，体现出潮汕人祈求平安、吉祥、富贵、子孙丰隆的美好意愿。下为红漆地贴金箔浅浮雕方格纹枋栏。椟内底板为磨金漆画人物故事图，并署民国廿六年款。The shrine doors are divided into six decorative boards in the front and at the back. The front upper transverse panel is decorated with birds and flowers in openwork . The shrine door is featuring the patterns of figures and stories . The bottom transverse panel is designed with foil coating grass scrolls in relief coated with gold against the background of lacquer . The back upper transverse panel is carved with birds and flowers in openwork. The shrine door is featuring such ancient patterns as vase flowers ,ruyi , peony as well as the pattern of interlocking grapes (many children). The pattern of interlocking pine ,grapes and squirrels inside the shrine reflects good wishes of the Chaozhou-Shantou people for peace, good fortune, wealth and many children. Square foil coating columns in relief on red ground are at the bottom. The bottom board inside is decorated with a grinding gold lacquer painting with stamp of the 26th

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year of the Republic of China.

第五单元 复兴期[单元导言]

新中国成立以来，潮州木雕几经起伏，在传承与发扬中获得了新生，木雕制品以满足当代人审美需求的独立摆件为主，题材、构图、造型、技法等方面均有突破，历史悠久的潮州木雕艺术绽放出新的光彩。2006 年潮州木雕被正式列入中国首批非物质文化遗产名录，成为中华民族的宝贵文化财富。

RerisingSince the founding of the New China, Chaozhou woodcarving has risen and fallen several times. It has a new life in the heritage and carrying forward. Chaozhou woodcarving takes independent ornaments as main products in order to meet the aesthetic needs of contemporary people , making breakthrough in theme, composition, shape and technique, etc. Historical Chaozhou woodcarving art bursts out new splendor. It was formally included in the First Batch of China Intangible Cultural Heritage in 2006, becoming a valuable cultural wealth of the Chinese nation.

展品：（现代）通雕蟹篓 长 32厘米、宽 29厘米、高 12 厘米

Wooden crab cage in openwork (Modern)

说明：作品以整块樟木雕刻而成，为著名潮州木雕艺人张鉴轩、陈舜羌师徒共同创作。作者运用娴熟高超的多层镂通雕和圆雕技艺，由外而内，逐层雕镂，将蟹篓内外大小各异的十只螃蟹刻划得惟妙惟肖，栩栩如生，是一件构思巧妙，造型优美，玲珑剔透的珍贵艺

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术品。1957 年，该作品在苏联莫斯科“世界青年联欢节艺术博览会”上获得铜质奖章。This work was created by master woodcarver Zhang Jianxuan and his apprentice Chen Shunqiang. The carving is completed layer by layer on a whole piece of camphor from outside in. Though it is a painstaking job to carve the crabs inside the cage, the woodcarvers managed to carve more than ten lifelike and interesting crabs within the small space after careful planning and knifing. The perfect composition, precise arrangement and the exquisite carving fully display the superb skills of the woodcarvers. The work is a bronze medal winner in the Art Fair of the World Youth Festival in Moscow in 1957.

图片：中国工艺美术大师陈培臣创作的龙虾蟹篓。

Wooden crab cage by China Arts and Crafts master Chen Peichen

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图片：中国工艺美术大师李得浓创作的木雕喜鹊闹梅挂屏Wooden hanging screen with the pattern of magpies and plum blossoms by China Arts and Crafts master Li Denong

第二部分 制 作 篇Craftsmanship

[部导言]

潮州木雕经过上千年的发展，在材料、工具、技法等方面自成特色。木雕艺人选择合适的木料，精心构思，因材施艺，运用不同的工具和独特的雕刻技法，制作出一件件精美的作品。Having developed for more than 1000 years, Chaozhou woodcarving has formed its unique characteristic in material, tools and techniques. Based on needs of design, woodcarvers applied different techniques according to the quality of the materials and practiced elaborate carving to produce countless delicate works.

第一单元 材料 Carving Techniques

[单元导言]

潮州木雕所用材料主要有木料、漆料、颜料、金属粉箔等四类。所用木料主要有樟木、杉木、苦楝木、花梨木等多种，以樟木、杉木最为常见。漆料多为植物漆，经过调制，髹涂于木雕器物的外表，起保护、装饰之用。颜料、金属粉箔则按实际需要描绘或粘贴于器表，进一步强化装饰效果。Common materials used in Chaozhou woodcarving can be put into the four categories of wood, lacquer, pigment and foil. Common woods include camphor, chinafir, chinaberry and rosewood, among which camphor and chinafir are commonest. Lacquer is usually made from plant and is applied to the surface of the woodcarving works for protection and decoration. Pigment and foil are painted or coated to the surface to further improve the decorative effect according to the actual needs.

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展品：樟木标本 BW01-1 长 40、直径 20 Camphor

展品：樟木标本 BW01-2 长 40×宽 25×厚 3Camphor

说明：樟木是潮州木雕的首选木料，分黄樟、红樟、乌肚樟、灰白樟等多种，以山区出产的黄樟为最佳。樟木有浓郁的樟脑香味，木质柔润，纹理细密，耐浸、耐湿、不易变形，硬度与韧性适中，容易加工，具有易入刀、不易崩、防虫蛀等优点，适宜于雕刻精细的浮雕、圆雕和多层镂空通雕。This is the first choice for Chaozhou woodcarving and comes in various shades of colors, such as yellow, red, black and grey, among which yellow camphor from the mountainous areas is the best. Camphor features a strong scent of camenthol, soft and smooth quality and fine texture. With a resistance against soaking and wetting, it is insusceptible to deformation. With the right hardness and toughness for carving, the wood is easy to process and work through and is insusceptible to breaking or worm eating. This makes it suitable for delicate carving ,such as relief, altorelievo, and multilayer openwork,.

展品：杉木标本 BW02-1 长 40、直径 20 Chinafir

展品：杉木标本 BW02-2 长 40×宽 25×厚 3Chinafir

说明： 杉木木纹平直，结构细致，质地轻松，容易加工，能耐朽，收缩变形小，但纹理直，缺韧性，雕刻易崩缺、起“毛”，故不宜作精细的镂通雕刻，多用于建筑物或大型家具上，作粗放的装饰性雕刻。With straight grains, fine texture and light quality, chinafir is easy to process, insusceptible to rotting and excessive shrinking. However, the straight grains are accompanied by poor toughness and susceptibility to breaking and rough surface, thus the wood is unsuitable for fine openwork and is usually used for coarse decoration in buildings and large

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furniture.

展品：苦楝木标本 BW03-1 长 40、直径 20Chinaberry

展品：苦楝木标本 BW03-2 长 40×宽 25×厚 3 Chinaberry

说明：北方称为“楝椅”，广东人又称之为“森木”。木纹美观，强度与变形性能类似樟木，容易加工。多用来制作床、橱柜等家具，装饰以沉雕、浮雕为主，不宜作多层通雕。This wood has beautiful grains with similar hardness and deformation resistance to camphor. Easily processed, it is usually used in beds and cabinets. Decoration on chinaberry comes mostly in intaglio and relief carving, not multilayer openwork.

展品：花梨木标本 BW04-1 长 40、直径 20

Rosewood

展品：花梨木标本 BW04-2 长 40×宽 25×厚 3Rosewood

说明：花梨木品种较多，属于硬木类，按材质颜色分为红花梨、白花梨两种，以白花梨最常见，多从泰国、缅甸等国进口。花梨木质地坚硬，木纹清晰美观，多用来做床脚，雕成虎爪、狮爪等形状，美观耐用。This hard wood comes in various types and is often categorized into red rosewood and white rosewood according to the color. White rosewood is commoner and is mostly imported from Thailand and Burma. Hard with clear and beautiful grains, rosewood is often made into lasting and beautiful bed legs in such shapes as tiger paws and lion paws.

图片：漆料（生漆、熟漆、金胶漆） BT01

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Lacquer (raw lacquer, refined lacquer and gold size)

说明： 潮州木雕所用漆料多为植物漆，分生漆、熟漆两种。生漆是经过过滤的天然漆树汁液；熟漆即经过炼制的漆，是在生漆中加入适量桐油，在太阳光的热晒下不停地搅拌三、四天，使漆的性能变得柔和而有光泽，并且不易干燥，以便粘贴金箔。金胶漆是粘贴金、银箔或金银粉的粘合剂，又称贴金漆、浑金漆，以生漆加热桐油调制而成，并加入适量朱砂，使所贴的金箔显得更加艳丽。Most lacquer used in Chaozhou woodcarving is made from plant and comes in either raw lacquer or refined lacquer. Raw lacquer is the filtered extract from natural lacquer plant (usu. cashew) while refined lacquer is the mixture of raw lacquer and a suitable amount of Chinese wood oil. This mixture is kept under continuous mixing in the sun for three or four days to make it soft, glossy and uneasy to dry for the convenience of foil coating. Gold size is the glue for gold or silver foil or powder. It is a mixture of filtered raw lacquer, hot Chinese wood oil and a suitable amount of cinnabar, which adds to the glow of the foil coating.

展品：颜料一组 BW06 Pigment

说明： 潮州木雕常用的颜料有正银朱、黄漂、红丹、乌烟、铜绿、砂绿、孔雀蓝、酞酯蓝、石黄、藤黄等。其用途一是加入漆料，调配成色漆。在漆料中调入红颜料，可使金箔的颜色更加辉煌亮丽。二是根据装饰需要调配各色颜料，髹涂于木雕饰件的外表，或用平涂、没骨、钩填等技法在器物漆面上绘画各种纹饰。The common pigment used in Chaozhou woodcarving comes in vermilion, permanent red, black, bronze green, sand green, peacock blue, blue, orpiment, gamboges, etc. One use of the pigment is to add color to lacquer through mixing. Chaozhou woodcarvers tend to add red colors to lacquer to achieve an extra shine in the foil coating. Another use of the pigment is to mix it to different shades of colors and paint it to the surface of the woodcarving works or to paint different decorative patterns on the

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lacquered surface of utensils through different techniques.

展品：金箔、银箔、锡箔、铝箔、铜粉Gold foil, silver foil, tin foil, aluminum foil, brass powder

说明： 潮州木雕流行粘贴或髹涂金属粉箔的装饰手法，所敷贴的金属粉箔主要有金箔、银箔、锡箔、铝箔、铜粉（俗称金粉）等，其中以金箔最为常用。髹漆贴金装饰是潮州木雕的主要特点之一，故又有“金漆木雕”之称。Foil coating and painting are popular in Chaozhou woodcarving. Common foils are gold foil, silver foil, tin foil, aluminum foil and brass powder (commonly known as gold powder), among which gold foil is commonest. As foil coating and painting is one of its major features, Chaozhou woodcarving is also known as gilt woodcarving.

第二单元 工具Tools

[单元导言]

潮州木雕艺人所用的工具多种多样，按其功能可分为选材取坯工具、雕刻工具、调漆工具、打磨工具、髹涂工具、描绘工具、敷贴工具等七大类。Chaozhou woodcarvers use a variety of tools in their work, which can be categorized according to function into shaping tools, carving tools, mixing tools, grinding tools, coating tools, painting tools, and pasting tools.

展品：叩槌 BW08 长 30×宽 13×高 10

Wooden hammer

说明： 叩槌是木雕艺人雕刻时用来敲击雕刻刀具的槌子，俗称

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“叩槌”。槌身为坚实的龙眼木，槌柄则为杂木。木质叩槌具有弹性，起缓冲作用，便于控制敲击力度，是木雕艺人不可缺少的工具。This is used to strike the chisel during carving. The head of the hammer is made of longan wood while the handle of any available wood. The springy wooden hammer offers a buffer in striking and thus facilitates the control of striking force. It is an indispensable tool for woodcarvers.

展品：弓把、夹仔（待征集）BW09 长 30×宽 20

Bow and clamp

说明：弓把、夹仔用于起草图、量比例或作圆规。This is used for drafting, scaling or drawing arcs.

展品：单手钢线锯 BW10－1 长 58×宽 40×高 4 Steel wire saw 展品：双手钢线锯 BW10－2 长 58×宽 40×高 4 Steel wire saw

说明：钢线锯用硬木作锯弓，用铁勾将有锯齿的钢线锯条固定在锯弓的两头，大小可根据实际用途而定。单手操作的，称为单手锯，双手操作的称为双手锯。钢线锯操作方便灵活，多用以锯割较规则的几何图案或花卉纹。This is easily installed by fixing a steel wire with teeth on both ends of a bow of hard wood. It comes in any size as applicable. The saw can be made for the convenience of a single hand or both hands. The user-friendly saw is usually used to cut regular geometric patterns or patterns of flowers.

展品：方凿刀 BW13－1 长约 25 Square chisel

说明： 方凿刀又叫平口刀，刀口平直，主要用于雕削平面部位，

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如亭台楼阁的屋顶、瓦片、梁柱以及浮雕的地子等等。Also called flat-edge chisel, this chisel is used to carve and cut plain parts such as the roof, tiles, beams and columns of buildings and the background of relief.

展品：方湖刀 l BW13－2 长约 25Arched square chisel

说明： 刀口略呈弧形，是镂凿形像粗坯的重要工具之一，善于表现稍有弧度的部位，如人物的头部、肩部等。With a slightly arched edge, this chisel is an important tool for cutting and carving the rough shape of images. It is suitable for slightly arched positions such as the head and shoulder of a human figure.

展品：圆凿刀 BW13－3 长约 25 Round chisel

说明： 刀口呈圆弧形，弧度较大，规格多样，用于雕刻物像的凸圆形、凹痕处、弧形衣纹以及花卉的花、叶等。This kind of chisel comes in broadly-arched edges of various degrees for protruding and concave arcs, arched clothes patterns and flowers and leaves, etc.

展品：挠凿刀 BW13－4 长约25

Triangle Chisel

说明： 挠凿刀又称三角刀，刀刃呈三角形，刀的左右两侧成封面，锋利焦点在中角上，规格多种，用于雕削其它刀具难以触及的深层部位。This kind of chisel comes in triangle edges with two blades on the left and right sides. The sharp edge focuses on the central angle with a variety of specifications for carving the deeper parts that are hard to reach.

展品：雕刀 BW13－5 长约 25 Carving knife

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说明： 刀刃成锐角形，操作时如执笔般灵活走动，用于刻划线条、花纹，如衣褶、叶脉等。The blade of this knife, in the shape of an acute angle, can be driven flexibly like a pen to cut lines and patterns such as pleats and venations.

展品：毛尾刀 BW13－6 长约 25 Hair-tail knife

说明： 镂空雕刻的特制刀具，刀刃为长锐角形，用于纹饰侧面的造型刻划，如雕削树干的杈枝等。This special knife for openwork features a blade in the shape of a long acute angle for the carving of images on the side of the patterns, such as twigs of trees.

展品：磨刀石（油石、粉石、乌石） BW14 各长 20、宽 7.5、厚5

Whetstone （ coarse-honing whetstone, medium-honing whetstone and

fine-honing whetstone）说明： 磨刀石是用来磨利刀、凿等工具的专用石块，按石质的

粗细分为油石、粉石、乌石三种。油石去铁，粉石生刃，乌石起光。磨刀时按油石、粉石、乌石的先后次序进行。The whetstone is a special piece of stone for honing knives and chisels. It is categorized into three types according to the fineness of its grains: coarse-honing whetstone, medium-honing whetstone and fine-honing whetstone, respectively for thinning, sharpening and smoothing. Honing of tools is conducted in sequence on coarse-honing, medium-honing and fine-honing whetstones.

展品：铁笔 BW15 长约 15 Iron pen 说明： 铁笔是一种特制的刻划工具，笔尖为铁质或钢质，使用

时手执笔杆，在金漆画上刻划出物像的细部纹饰，如人的须发、衣服

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的花纹图案、花叶的脉络等。Held at the shaft like a pen, this special tracing tool with an iron or steel point is used to carve the fine lines on the gilt painting such as hairs, patterns on the clothes and leaf venations.

展品：漆刷 BW16 长 20×宽 6×厚 1 Lacquer brush

说明： 漆刷是用来髹涂漆料的工具，有多种规格，制作原料主要有人发、牛毛、猪鬃三种。上漆时，要根据髹涂需要准备尺寸不同的漆刷。This tool for applying lacquer comes in various sizes and in three main materials: human hair, ox hair and bristle. Brushes of different sizes are prepared according to needs before painting.

展品：排笔 BW17 长 15×宽 6×厚 1Broad brush

说明： 排笔是用来髹涂容易流动的液体涂料的工具，通常以软性毛制成，尺寸大小以排管多少为准。Made of soft hair, this tool comes in various sizes for the application of fluid coating. Its size is adjustable by varying the number of tubes.

展品：描绘工具（漆绘笔、描线笔、扫笔、绘画笔）BW18Drawing tools (painting brush, line brush, cleaning brush, drawing

brush)

说明： 描绘工具是在器物的漆面上描绘图案纹饰的工具，主要有漆绘笔、描线笔、扫笔、绘画笔等数种。漆绘笔用动物毛制成，以鼠毛最佳。描线笔用纯狼毫制成，笔毛长而细，用于勾画线条。扫笔用羊毛制成，用于清扫装饰部位的金属粉末和灰尘。 These are tools to draw patterns on the lacquered surface of articles, consisting mainly of painting brushes, line brushes, cleaning brushes and drawing brushes. The painting brush is made of animal hair, best of mouse hair. The line brush is made of wolf hair into a long and narrow shape for drawing lines. The cleaning brush is made of goat hair for clearing the decorated positions of metal utensils and dust.

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图片：常用刀具用法示意图一组 Common knives

1、方凿刀、方胡刀、圆凿刀在取形象坯形时的持刀法Square chisel, arched square chisel and round chisel used in clay

moulding

2、毛尾刀持刀法Hair-tail knife used in carving

3、雕刀的持法Carving knife used in carving

1. 2. 3. 4.

4、方凿刀、方胡刀、挠凿刀在细雕刻时的持刀法Square chisel, arched square chisel and triangle chisel used in fine

carving

展品：滤漆架　　　　　　　长 宽 高(用于生产场景)Filtering stand

第三单元 雕刻技法

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Techniques

[单元导言]

潮州木雕的传统雕刻技法主要有沉雕、浮雕、通雕和圆雕四种，其中以多层次的镂通雕最具特色。木雕艺人可根据不同的装饰部位和艺术要求而灵活运用，各施其技，力求做到美观实用。The traditional carving techniques in Chaozhou woodcarving are mainly four: relieve, intaglio, altorelievo and openwork, among which multilayer openwork is most typical. The woodcarvers adapt their techniques to different positions and artistic needs for better effects of beauty and application.

第一组 沉雕Intaglio

[组导言]

沉雕即阴刻，图案纹饰低凹于木料平面，雕刻简便省工，纹饰不易受损，多用于房门、屏风门、橱柜门等建筑和家具饰件上容易受损的部位。纹饰以花木虫鸟最常见。构图疏朗，刀法简练，画意浓郁。Intaglio is a pattern carved into or beneath the surface of the wood. As this kind of carving is easily accomplished with little damage to the patterns, it is often applied to susceptible positions on room doors, screen doors, cabinet doors and other furniture. The commonest patterns are flowers, trees, insects and birds. The elements are thinly scattered and plainly carved, much after the style of traditional Chinese paintings.

展品：沉雕兰花花板 长 37× 宽 17 × 高 1 .5 Plank in intaglio with orchid patterns

展品：沉雕花鸟纹屏风门肚 长 36× 宽 12× 厚 2 Door panel in intaglio with patterns of flowers and birds

展品：沉雕花鸟花板（一对） 各高 40×宽 23.5×厚 3Screen door panel in intaglio with patterns of flowers and birds

第二组 浮雕　Relief

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[组导言]

浮雕又称阳雕，所雕图案纹饰凹凸起伏于木料平面，并有地子作衬托。按图案纹饰浮突的高低又有浅浮、中浮、高浮之分。通常，浮突 1厘米属浅浮雕，浮突 2厘米的属中浮雕，浮突 3厘米以上的属高浮雕。高浮雕又有“打浮”、“叠浮”、“钉浮”之别。Relief is the projection of patterns from the surface of the wood with a flat background. Relief can take the form of low relief, medium relief and high relief according to the degree of projection. Usually a projection of 1 cm is low relief, a projection of 2 cm is medium relief while that higher than 3 cm is called high relief. High relief is further categorized into

struck relief, superposed relief, nailed relief.

展品：（清代）高浮雕双凤牡丹纹花板 H528 长 44×宽 16×

厚 4

Plank in relief with the pattern of double phoenixes and peony （ Qing

Dynasty）展品：（清代）“打浮”菱花地龙凤八仙纹花板 H235-1 长 64×宽39×厚 4Plank in struck relief with the pattern of dragons, phoenixes and the

Eight Immortals on the background of diamond patterns （ Qing

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Dynasty） 说明：“打浮”是潮州木雕传统浮雕技法之一，其方法是在整块木料上浮雕景物，将景物之外的空间铲平，使之略低于景物的平面，再雕刻图案纹样作为衬地，并将板面镂通。因以木槌敲打凿刀将板面凿通，故谓之“打浮”。In this kind of relief, images are carved on the whole piece of wood while the remaining part is smoothed into a plain lower than the images to form the background, which is then patterned. The plank is then chiseled through, hence the name struck relief, as a wooden hammer is used to strike the chisel through the plank.

展品：（清代）“叠浮”人物故事花板 H472 长 60× 宽 23× 厚 5

Plank in superposed relief featuring figures and stories （Qing Dynasty）

说明：叠浮是指镂空衬地图案与浮雕主体物像是以两块木料分别雕刻制作，然后叠在一起，用粘胶固定成为一件完整的木雕。This style features the superposition of the major images on the background, both in high relief but each on a separate plank, which is stuck together with glue.

第三组 圆雕Altorelievo

[组导言]

圆雕是立体雕刻，物像形体的四面皆可欣赏。其技法是先将多余的部分锯去，粗雕出主体和陪衬部分的轮廓，再从上至下，由表至里，逐层凿削，先粗雕，后细雕，再细刻磨光部分。圆雕多用于建筑

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饰件、礼祭器具以及家具陈设的局部构件。单独陈设于几架上的圆雕摆件出现较晚。Altorelievo gives a three-dimensional effect that can be viewed from any angle of the image or object. The first step of this technique is to saw off unwanted parts and carve the rough shape of the main body and background. Then the details are carved layer by layer in a top-down and outside-in manner, following the sequence of rough shaping before elaboration. Altorelievo is often used in components of decorative utensils in buildings, ceremonial utensils and furnishings. Independent furnishings for display in altorelievo appeared very late.

展品：（清代）圆雕狮子 H1629-1、2 高 30×宽 21×厚 14

Lions in altorelievo（Qing Dynasty）

展品：（清代）圆雕香炉狮　　　　　H656　长 28×宽 15×高25厘米 Lion-shaped incense in altorelievo (Qing Dynasty)

此件原为香炉盖上的饰件，以整块木料雕刻成子母狮。母狮侧身蹲坐，昂首张口，口内有孔与炉座相通，以便烟气透出。大小狮子神态生动活泼，令人喜爱。

第四组 通雕Openwork

[组导言]

通雕又称透雕，是吸收沉雕、浮雕、圆雕和绘画的长处，融合变

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通而成，物像形体作多层次布局，物像之外的部位通体穿透。通雕层次的多少，视材质厚薄和雕刻技艺高低而定，少则二三层，多则四五层，超过七层者极为少见。通雕又分锯通雕、多层镂通雕两种形式。 This style is the evolution from intaglio, relief, altorelievo and painting, with multilayer composition of images and complete opening at positions without images. The number of layers, dependent on both the thickness of the wood and the skills of the woodcarvers, usually ranges from two to five, rarely more than seven. Openwork can take the form of either sawn openwork or carved openwork.

展品：（清代）锯通雕五福临门窗花 H329高 50×宽 37×厚 2 Window grille in sawn openwork featuring the theme of Five Blessings

Coming to the Family（Qing Dynasty）

说明： 锯通雕是先在裁截好的木料上画好图样，然后用钢线锯沿着图样的轮廓线锯出所需要的图像，再以雕刻刀修整锯通的洞眼并对图像略加雕饰而成。锯通雕制作简单便捷，宜于表现线条规整的单层景物。 Sawn openwork is made by sawing out the desired image with a steel wire saw along the contour line drawn on the wood in advance. This is followed by trimming of the holes and slight decoration of the images with a carving knife. This easily-achieved style is suitable for single-layer images with regular lines.

展品：（清末）多层镂通雕人物故事花板 H638 长 45×宽 20×高9厘米Patterned plank in multilayer openwork featuring figures and stories

(Late Qing Dynasty)

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说明： 多层镂通雕是在裁整好的木料上作多层次雕刻，体积深厚、丰满，物像层层叠叠，交错穿插，具有玲珑剔透的效果。适合表现人物众多、情节复杂、场面宏大、景物丰富的题材，最能体现潮州木雕的雕刻水平和艺术特色。Multilayer openwork is the carving on various layers of the same piece of wood, creating rich, in-depth, overlapping and interwoven images and an exquisite effect. Suitable for themes with numerous figures, complicated plots, grand views and rich scenery, this style is the best representative of the level and characteristics of Chaozhou woodcarving.

第四单元 制作工序Work Process

[单元导言]

潮州木雕的制作有一系列的工艺程序，以髹漆贴金木雕为例，其制作过程可分为整料、起草图、上草图、凿粗坯、细雕刻、髹漆贴金等六道工序。The production of Chaozhou woodcarving follows a series of procedures. Take lacquered and foil-coated woodcarving for example, the process undergoes six steps: material preparation, drafting, printing, rough shaping, fine carving and coating.

图片：整料 Material preparation

说明： 整料就是根据装饰部位和雕刻题材挑选合适的木料，对于大件器物，如难以找到完整的木料或者为了降低成本，可采取变通的办法，将几块材料拼接在一起。This involves the selection of suitable wood according to the position and

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theme of the desired carving. In case of difficulty to find a complete timber for a large utensil, or in need of cost reduction, connection of several pieces can be accepted as an alternative.

图片：起草图 （须修底、重新排版）Drafting

说明： 指雕刻之前，根据装饰部位、雕刻要求及所用材料等具体情况，构思并画好图稿，一般用毛笔以白描手法绘制。对于多层次的镂空雕刻，起草图时要深思熟虑，照顾到各个层次。Before carving, the desired images are drafted in black ink with a drawing brush on a piece of paper according to the position, theme and material of the desired carving. Special care is necessary for multilayer openwork so that different layers can be taken into consideration.

图片：上草图 （须修底、重新排版）Printing

说明： 上草图的传统方法是在草图的反面用柔软的木炭或灯烟描绘一遍，然后准确地把图纸压在需要雕刻的木料上，用手均匀地压抹，图案即可印在木料上。现在多采用复印的办法，将草图的复印件直接贴在木料上，按图雕凿，方便快捷，省工省时。The traditional way is to trace the lines on the back of the draft with soft charcoal or lamp black and then press the paper against the prepared wood. Pressing and rubbing the paper with even force from the hand will leave the drafted pattern on the wood. The modern way is to directly paste the photocopied draft on the wood and follow the lines in carving. This easier way saves efforts and time.

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图片：凿粗坯 Rough shaping

说明： 上好草图后，即开始雕刻的第一道工序----凿粗坯，打凿出作品的大体轮廓和结构。打凿时，一般是由上至下，由表及里。要考虑木材的质地纹路，讲究构图布局，注意人物景观的比例和景物体积容量。还要考虑沿厚度方向每层的厚薄安排。凿粗坯是很关键的一道工序，决定着作品的成败，故多由经验丰富的老艺人亲自把关。After printing comes the first step of real carving. Rough shaping yields the basic contour and structure of the carving in the top-down and outside-in sequence. Consideration is taken of the quality and texture of the wood, the theme of the carving, the scale and size of the scenery and images, as well as the thickness of each layer. Rough shaping is an essential step that decides the outcome of the carving, and consequently it is usually done by experienced woodcarvers.

图片：细雕刻 Fine carving

说明： 在粗坯定形的基础上，先将外层的形体修削平滑，再深入内层，完成人物神态、衣饰装扮、树木枝叶、脉络等细部雕刻，完善作品。With a rough shape, the outer surface of the images is to be trimmed and

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smoothed first, followed by the refining of the inner layers as well as elaboration of the details such as expressions and manners of human figures, clothes and ornaments, twigs, leaves and venations. This brings the carving to perfection.

图片：髹漆贴金　　Coating

说明：髹漆贴金是潮州木雕最常见的装饰手法，即在雕刻工序完成后，在器物表面髹涂漆料三遍以上，然后上再涂上一层金胶漆，放入特设的漆房晾干，待金胶漆层将干未干之时，在无风的场所，用软刷将金箔逐片擦粘在木雕表面上，敷贴金箔的木雕作品具有金光闪闪、豪华富丽的装饰效果。Lacquering and foil coating is widely applied in Chaozhou woodcarving. After the carving steps, the surface of the utensils lacquered and coated with foil when the lacquer is half dry, which brings a glittering and glowing effect to the article. The coating process usually takes six steps: curing, filtering, filling, painting, drying and coating.

第三部分 艺术篇Art

[部导言]

潮州木雕经过一代又一代艺人的实践和摸索，不断吸收其它门类艺术的精华，熔中国传统文化和地方民俗文化于一炉，并迎合潮汕人的审美情趣和生活需求，逐步形成了题材丰富、构图饱满、精巧细腻、玲珑剔透、金碧辉煌的艺术特点，成为中国民间传统木雕的一朵奇葩。Having been practised and explored by generation after generation of woodcarvers, Chaozhou woodcarving has absorbed the essence of other

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forms of art, combined traditional Chinese culture and local folk culture, and catered to the sense of beauty and needs of life of the Chaozhou-

Shantou people. All these craftsmanship and grand look ， efforts have contributed to the artistic features of a broad range of themes, richness

and subtlety of details, delicate and elaborate design, exquisite which

make Chaozhou woodcarving a most beautiful flower in traditional Chinese folk woodcarving.

第一单元 丰富多彩的题材内容Variety of Themes

[单元导言]

潮州木雕题材广泛，内容丰富，除了民间广泛流传的历史典故、戏剧故事、人物山水、吉祥图案等传统题材以外，还包括人们喜闻乐见的地方风物、民间传说、民俗生活等内容，具有浓厚的生活气息和鲜明的地方特色，概括起来可分为三大类，即人物类、自然物像类、几何图案类。The variety of themes in Chaozhou woodcarving not only includes such traditional themes as stories from history, plays, human figures, landscapes and auspicious patterns, but also includes local productions and scenery, legends and folklores as well as customs and the life of ordinary people, which gives it a strong sense of life and local characteristics. These themes can be categorized into three major types, i.e., human figures, natural images and geometric patterns.

第一组 人物类Human Figures

[组导言]

人物类题材包括民间广泛流传的历史典故、戏剧曲艺、民间故事、神话传说以及现实社会生活等方面。特点是以人物为中心，具有一定的故事情节，符合传统的伦理道德观念，既可满足人们的审美需求，又具有成教化、助人伦的作用。

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This type of theme includes stories from history, plays and operas, novels, legends and folklore, fairy tales and myths as well as various aspects of real life. The common feature of these themes is to focus on human beings. As they entail certain stories in line with traditional moral standards, they not only cater to people’s sense of beauty, but also help to enhance moral teaching.

展品：（清代）通雕郭子仪庆寿花板 H233 高 72×宽 47×厚 5 Patterned plank in openwork featuring the story of Guo Ziyi Celebrating

His Birthday（Qing Dynasty）

说明： 郭子仪庆寿是潮州木雕的传统题材。郭子仪为唐朝大将，今陕西华县人，以武功累官至天德军使兼九原太守，因平定安史之乱有功，拜为中书令，封汾阳郡王。相传有七子八婿，均为朝廷大员，每逢庆寿，隆重非常。郭子仪享寿 84岁，官运亨通，子孙满堂，在封建社会被尊为“富贵寿考”、“繁衍安泰”的象征。This is a traditional theme in Chaozhou woodcarving. Guo Ziyi was a general in the Tang Dynasty ,a native of today’s Huaxian County in Shannxi, who military exploits won him the position of Governor of Tiande Province and Prefect of Jiuyuan Prefecture. His contributions in the pacification of the Rebellion of An Lushan and Shi Siming promoted him to Prime Minister and the honorary title of King of Fenyang County. It is said that Guo had seven sons and eight sons-in-law, all high officials of the imperial court. Therefore, celebration of Guo’s birthday was grand. As Guo died at the age of 84, enjoyed high positions and had a lot of offspring, he was seen as a symbol of “wealthy and longevity” and “multiplication and peace” in the past.

展品：（清代）金漆木雕耕织图花板 （一对）H470 高 70×宽

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15×厚 6 Gilt wood plank featuring the pattern of farming and weaving （ Qing

Dynasty）展品：（清代）金漆木雕渔樵耕读花板 H1131 高 40×宽 17×

厚 3Gilt wood plank featuring the patterns of fishing, wood chopping,

farming and learning（Qing Dynasty）

展品：（清代）通雕人物故事花板 H448 长 49×宽 29×厚 9

Patterned plank in openwork featuring figures and stories （ Qing

Dynasty）

第二组 自然物像类Natural Images

[组导言]

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自然物像类题材是指以动植物、山水风景等自然景物以及人们日常使用的各类器具什物作为主体。或直接描绘刻划，或按一定的主观意念，以自然为母本，创造出不同寓意的各种吉祥图案，从侧面反映了人们崇拜祖先、追求富贵、祈求吉祥、向往功名以及忠、孝、节、义等传统思想观念。This kind of theme features natural images such as animals and plants, landscape and scenery, as well as various utensils used in daily life. These images are either directly depicted or transformed according to certain conceptions into various auspicious patterns with different significances. They are the indirect reflection of traditional worship of ancestors, pursuit of wealth and honor, longing for position and reputation, as well as approval of such merits of loyalty, unrighteousness, integrity, and filial piety.

展品：（清代）通雕鹤鹿同春花板 H267 长 68×宽 45×厚 4

Plank in openwork with patterns of cranes and deer in spring （ Qing

Dynasty）

展品：（清代）通雕松竹绵羊花板 H910 长 35×宽 18×厚 3

Plank in openwork with the pattern of pine, bamboo and sheep （ Qing

Dynasty）

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展品：（清代）通雕花卉瓜果纹花板 H246 高 76×宽 35×厚5

Plank in openwork with patterns of flowers and fruits（Qing Dynasty）

展品：（清代）通雕鱼藻纹花板 H994 长 28×宽 15×厚 2

Plank in openwork with patterns of fish and algae（Qing Dynasty）

展品：（清代）通雕鲤鱼跳龙门花板 H252 长 70×宽 39×厚4Patterned plank in openwork featuring the tale of Carp Leaping the

Dragon’s Gate（Qing Dynasty）

第三组 几何图案类Geometric Patterns

[组导言]

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几何图案类题材是指由点、线以及正方形、三角形、六角形、圆形等几何形体组合成具有审美价值的图像。主要用于门窗、横披、格窗以及多层镂通雕的“地子”。主要形式有：步步紧、拐子纹、回纹、套环、龟背纹等，雕刻手法以锯通雕为最多，具有较强的装饰效果。These are patterns consisting of such geometric shapes as dots, lines, squares, triangles, hexagons and circles in aesthetic combination. Mainly applied to doors, windows, horizontal hanging scrolls, panes, and the background of multilayer openwork, the major patterns include overlapping squares, zigzagging lines, looping lines, overlapping circles and linking hexagons. Sawn openwork is the commonest carving style, which enhances the decorative effects of the carving.

展品：（清代）几何纹花板 CW30 H360 长 70×宽 50×厚 6

Plank with geometric patterns（Qing Dynasty）展品：回纹窗花 CW33 长 82×宽 34×厚 5Window grille with looping line

展品：几何纹窗花 CW34 长 100×宽 55×厚 5Window grille with geometric pattern

第二单元 形式多样的构图布局Diversity of Composition

[单元导言]

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潮州木雕善于充分利用空间，物像平列铺陈，不作或少作重叠，各个物像清晰可见。惯于将不同时空的人物或场景安排在同一个画面中。画面结构常作对称布局，主体物象居中，次要物象作左右或上下对称安排，具有构图丰满、布局匀称、和谐庄重的艺术特点。其构图布局可概括为三种形式：格律体构图、平视体构图、立视体构图。Full use of space is an advantage of Chaozhou woodcarving. The images are mostly laid out on the same plain with little or no superposition, so that each image is conspicuous. In the same manner, figures or scenes of different time and space are placed in the same frame, usually a symmetric one, with the major image in the middle and secondary images arranged symmetrically to the four sides. This brings rich composition, regular layout and harmonious and solemn air to the carving. There are three types of composition in Chaozhou woodcarving: metrical composition, isometric composition and perspective composition.

第一组 格律体构图Metric Composition

[组导言]

格律体构图是以曲、直、方、圆等几何形体为架构，在规矩中求变化，通过巧妙构思，从上下、左右、大小、主宾、虚实等方面灵活安排，创造出千差万别又结构严谨的图案，具有交代清楚、脉络分明、均衡匀称、节奏感强的特点。This composition is based on the basic arrangement made up of geometric shapes, curved, straight, square or round ones. Upon elaborate planning, transformation is made to the regular shapes in their vertical position, transverse position, size, focus, salience, etc., which creates varied though precisely structured patterns. Such a composition features clear narration, logical arrangement, balanced scale and strong rhythm.

展品：（清代）通雕单凤朝阳帐顶 H263 长 42×宽 42×厚 3Curtain top in openwork featuring the pattern of a phoenix facing the

sun（Qing Dynasty）

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展品：（清代）通雕夔龙蝙蝠纹窗花 H253-2 长 50×宽 37×厚2Screen in openwork with patterns of vases, flowers and archaic

dragons（Qing Dynasty）

展品：（清代）通雕瓶花夔龙纹屏风门肚 H251 长 74×宽43×厚 2 Door panel in openwork featuring the patterns of vase and archaic

dragon（Qing Dynasty）

展品：（清代）通雕九蝠捧寿龛门肚 H315 长 68×宽 40×厚 4 Shrine door panel in openwork with the auspicious pattern of nine bats

delivering longevit（Qing Dynasty）

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说明：这件门肚以民间传统的福寿吉祥为主题，高浮雕的菱花形开光（俗称“蟹壳”）内通雕一“寿”字，并以蝙蝠、葫芦瓜等围绕衬托，开光外四角饰以蝙蝠纹，取“代代福寿”之意。作品构图丰满，布局匀称，具有浓厚的富贵吉祥气氛。This shrine door panel is designed with traditional auspicious theme of longevity and happiness .The diamond reserved panel is carved with a Chinese character “Shou”(longevity) surrounded with bats and gourd patterns at the corner , implying "Happiness ". It has a strong atmosphere of wealth and good fortune , full in composition and symmetry in layout.

第二组 平视体构图Isometric Composition

[组导言]

平视体构图是把物像的个性、特征加以概括提炼，适度夸张变形，突出轮廓特征，然后将其形像用排比重复的方式安排成一个平面，无远近透视，形像的重心在一条视平线上，作平面处理。构图自由，富于装饰性，多用于自然物像类题材。This is a non-perspective composition, which gives prominence to generalized and exaggerated features of images and arranges them on a plain in a repeated array. The focus of image is on a single eye line, which decides the plain. Such a free and decorative composition is often used for natural images.

展品：（清代）通雕喜鹊牡丹花板 H1019 长 84×宽 17×厚 4

Plank in openwork with the pattern of magpie and peony （ Qing

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Dynasty）

展品：（清代）通雕茶花喜鹊花板 H1027 长 69×宽 20×厚 4

Plank in relief with the pattern of camellia and magpie（Qing Dynasty）

展品：（清代）通雕莲花鹭鸶纹花板 H541 长 80×宽 17×厚8

Plank in openwork with the pattern of lotus flowers and bitterns（Qing

Dynasty）

第三组 立视体构图Perspective Composition

[组导言]

立视体构图是在平视体的基础上，作散点透视，以大观小，空间不受透视的限制，根据需要对衬景进行灵活取舍，突出人物主体。其具体表现手法主要有两种：一是主体居中，画面向两边同时倾斜，多用于人物故事类题材；二是同时看物像的左右侧面，倾斜度小于45°，多用于浮雕博古花鸟等纹饰。The perspective composition of Chaozhou woodcarving is essentially cavalier perspective based on isometric composition, which aims to give prominence to the main figure through adaptive selection of background scenery. This is achieved in two major ways. One is to place the main

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figure in middle with the background sloping to both sides, which is often used for figures and stories. The other is to distinguish the side views of images with a slope of smaller than 45 degrees, which is often used for ancient patterns and patterns of flowers and birds.

展品：（清代）金漆木雕人物故事花板 H1127 长 66×宽 20×

厚 6

Gilt wood plank featuring the patterns of figures and stories （ Qing

Dynasty）

展品：（清代）通雕赵云救阿斗花 H1115 长 66× 宽 20× 厚 6 Plank in openwork featuring the story of Zhao Yu Saving A’Dou （Qing

Dynasty）

展品：（清代）通雕人物故事门肚 H264 高 80×宽 60×厚 6Door panel in openwork featuring the pattern of figures and

stories（Qing Dynasty）

第三单元 灵活多变的艺术手法Adaptability of Artistic Skills

[单元导言]

为迎合人们的审美趣味，并使不同的装饰部位均能达到理想的观

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赏效果，木雕艺人经过长期的实践，摸索出多种独特的艺术处理手法，如周身布饰、巧设路径、合理夸张等。To cater to the aesthetic needs of people and achieve ideal effects at different positions of decoration, woodcarvers have created various unique skills through ages of practice, such as spread decoration, artful cohesion and exaggeration.

第一组 周身布饰Spread Decoration

[组导言]

潮州木雕追求饱满繁复的效果，其中以清代鼎盛阶段的木雕作品最为显著，人物、景观、花鸟等题材常常布满整个装饰面。Rich and complicated composition is the pursuit of Chaozhou woodcarving, especially in its prospering days. The frame of a woodcarving is often spread over by figures, scenery, flowers and birds, etc.

展品：（清代）金漆木雕人物故事神龛门肚 H250 长 74×宽43×厚 2

Gilt wood shrine door panel with design of figures and stories （ Qing

Dynasty）

展品：（清代）金漆木雕仙人花卉博古纹神龛门肚 H308 长 69×宽43×厚 5Gilt wood shrine door panel with design of figures of celestial beings,

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patterns of flowers and ancient patterns（Qing Dynasty）

展品：（清代）金漆木雕花卉博古纹神龛门肚 H270 长 62×宽40×厚 5Gilt wood shrine door panel with design of flowers and ancient

patterns（Qing Dynasty）

第二组 巧设路径Artful Cohesion

[组导言]

为了在有限的装饰面上表现尽可能多的情节内容，木雕艺人往往按照故事情节的发展顺序，截取典型的画面并将其分成几个部分，排列成“之”字形或“S”形，并且注意处理好人物神情、动态的相互呼应和时空过渡，从而组成一个有分有合的整体。In order to contain as much plots as possible in a limited frame, woodcarvers often select typical events from a story according to its development and divide it into several scenes arranged in a zigzag or S-shape. The expressions and actions of figures in different scenes

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correspond to each other as the time and place continue themselves, creating a cohesive story with independent parts.

展品：（清代）通雕黄飞虎反五关龛楣花 H1241 长 39×宽19×厚 2Gilt Wood shrine head in openwork featuring the story of General Huang

Feihu Fighting out of Five Passes（Qing Dynasty）

展品：第三组 合理夸张Adequate Exaggeration

[组导言]

潮州木雕惯于采取合理的夸张手法，突出表现雕刻题材的动人之处，增加艺术感染力。其夸张处理主要体现在对人物动作、体态的刻划上，强调动势，用动作来表现人物内心。人物刻划不追求正常比例，常常突出头部，头大身小，人大景小，增强了整体装饰力度。Exaggeration is a common skill used in Chaozhou woodcarving to give prominence to the affecting part of the expressed theme, thus enhancing the impressive power of the work. Exaggeration is mainly carried out in the actions and manners of figures with an emphasis on movement, through which the inner world of figures is exposed. Normal scale is neglected in the depiction of figures, often with an emphasis on the head. The large head in contrast to the small body and the large figures on the background of the small scene adds to the effect of overall decoration.

展品：（清代）通雕人物故事花板 H639、H640 各长 45× 宽 20× 厚 8

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Plank in openwork featuring the patterns of figures and stories （ Qing

Dynasty）

展品：（清代）王茂生进酒神龛门肚 H347-1 长 74×宽 43×厚2Shrine door panel featuring the story of Wang Maosheng Presenting

Wine（Qing Dynasty）说明： 《王茂生进酒》取材于潮剧传统剧目，大意为：薛仁贵因

平辽东有功，被封为平辽王，衣锦还乡之日，大宴宾朋，其救命恩人王茂生家贫如洗，无钱买酒，夫妇俩只好抬汾河水一瓮前来庆贺。薛仁贵不忘救命之恩，与王茂生开怀畅饮。此件反映了王茂生夫妇抬“酒”前来庆贺的情景，路径清楚，层次分明，人物神态适度夸张，充满戏剧色彩。The story is based on the plot of a traditional Chaozhou opera. General Xue Rengui was titled King of Liao Pacification by the emperor as an award for his contributions in the pacification of East Liao rebellion. Returning to hometown, he invited a lot of guests to celebrate this honor. Wang Maosheng, who once saved Xue’s life, was as poor as a church mouse, who didn’t have any money to buy wine . Therefore, Wang and his wife had only to carry an urn of water from the Fenhe River to Xue’s house as his present. The general, however, treasured the favor Wang had done him and drank all the water with him. This work shows the scenes of Wang Maosheng and his wife carrying their “wine” to Xue’s house. The scenes are presented in clear sequence and logical arrangement, with

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exaggerated expressions and theatrical effect.

第四组 数艺并施Combined Techniques

[组导言]

潮州木雕往往集雕刻、髹漆、贴金、绘画等多种工艺于一身，综合应用，数艺并施，色彩艳丽，豪华庄重，在中国木雕艺术中自成一格。Various techniques such as carving, lacquering, coating and drawing are combined in Chaozhou woodcarving in a comprehensive way, which gives it a colorful, magnificent and solemn style, accounting for its uniqueness among Chinese woodcarving.

展品：（清代）金漆木雕人物花卉嵌书画小围屏 H351 高 85×宽160×厚 3Small gilt wood enclosing screen with patterns of figures and flowers and

inlaid with calligraphy and paintings（Qing Dynasty）

展品：（清代）金漆木雕群狮漆画人物故事图菱形馔盒 H735 高29×宽 22×厚 14Gilt wood diamond food container with patterns of lions and

figures（Qing Dynasty）

第四单元 独具特色的总体装饰Unique Overall Decoration

[单元导言]

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潮州木雕非常注意木雕器物或场景性木雕装饰的总体设计，在满足实用功能的前提下，注意从结构的安排、空间的分割、题材的选择、色彩的搭配、构图布局的协调等多方面进行周密设计。其总的特点是讲究整体对称均衡、和谐协调，具有豪华而又庄重的总体风格。其总体装饰主要有黑漆装金、五彩装金、本色素雕三种。Overall design of utensils and scenic decoration has attracted great attention in Chaozhou woodcarving. Under the prerequisite of meeting practical needs, careful consideration is given to the arrangement of structure, division of space, selection of themes, collocation of colors and the adjustment of composition. The general features are symmetric and balanced composition, harmonious effect and magnificent and solemn style. The overall decoration of Chaozhou woodcarving takes three major forms: foil coating on black lacquer background, foil coating on colorful background and natural color woodcarving.

第一组 黑漆装金Foil coating on black lacquer background

[组导言]

在雕刻部位贴饰金箔，而在雕刻部位以外的空间（即“地子”）髹涂黑漆或黑色推光漆，色彩对比鲜明，风格华丽庄重，是潮州木雕常见的装饰手段。Carved positions are coated with gold foil against the background of lack lacquer or polished black lacquer. Stark in color contrast and magnificent and solemn in style, this is a common decorative form in Chaozhou woodcarving.

展品：（清代）金漆木雕花鸟人物故事神椟 H693 高 46×宽38×厚 21 Gilt wood shrine featuring the pattern of flowers, birds and figures(Qing

Dynasty)

114

说明：该神椟雕刻技法多样。椟门正背面均镂通雕精美纹饰。门肚采用多层镂通雕的手法，刻潮州七贤进京故事，以“之”字形布局，生动地刻画了潮州七贤策马扬鞭，日夜兼程进京赶考的情景。椟内背板为磨金漆画山水人物图，亭内文人墨客吟诗作对，路上一官人在侍从的护卫下策马前行，小桥流水、山石亭台，以小景致营造大空间。整座神椟造型庄重，装饰华丽。Different techniques are used for carving this shrine. Both sides of the doors are decorated with fine patterns in sawn openwork. Multilayer carved openwork is used for carving door panels featuring the story of Seven Scholars Going to the Capital for Imperial Examinations in a

zigzag shape, which vividly depicts the scene of seven scholars of

Chaozhou whipping horses on for imperial examinations. The interior of the shrine is decorated with gold-shined lacquer paintings .The shape is solemn. The decoration is elegant.

展品：（清代）金漆木雕瓜叶纹梁架饰件 H545 长 29×宽 21×

厚 6Gilt wood ornaments of beam mounting with the pattern of melon

leaves（Qing Dynasty）

第二组 五彩装金Foil coating on colorful background

[组导言]

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雕刻部位作贴金装饰，其余空间则以大红大绿或紫红、粉黄等颜色作彩绘装饰，互相衬托，具有金碧辉煌的效果。Carved positions are coated with gold foil against the background of colorful paintings, which set off each other and create a magnificent effect.

展品：（清代）浮雕仙姬送子图花板 H367 长 92×宽 49×

厚 3 Screen door plank in relief featuring the story of a Fair Ji Delivering a

Baby from Heaven （Qing Dynasty）

展品：（清代）浮雕状元及第花板 H366 长 92×宽 49×厚3 Plank in relief featuring the story of Ranking First in the Imperial

Examinations（Qing Dynasty）

第三组 本色素雕Natural color woodcarving

[组导言]

保留木雕材质的本色，不加油漆，或仅在器物边缘加上油漆，作为衬托，使作品的自然纹理和人工雕削清晰显露，风格朴素净雅。主要用于围屏、小神龛、薰炉罩等器物装饰，为数不多。This is carving on natural wood without lacquer or on utensils lacquered only on the edge as setoff. Such a treatment maintains the natural grains of the wood and the clear signs of the carving process, creating a simple and neat style. Natural color woodcarving is scarcely applied and is mainly found in the decoration of such utensils as large screens, small shrines and incense burner covers.

116

展品：（清代）素雕薰炉罩 H722 长 32×宽 32×厚 42

Natural color wood incense burner cover （ Qing Dynasty ）

展品：（现代）素雕蟹笼 H633 长 50×宽 27×厚 18

Natural color wood crab cage（Modern）

第四组 漆画菁华Lacquer Painting

[组导言]

漆画是潮州木雕器具的一种常见装饰手法，方法是先在漆料中按比例混入颜料并调匀，然后用画笔蘸颜料直接在经过髹漆处理的装饰部位进行绘画。常见的漆画形式有描金漆画、磨金漆画、彩漆画等。精细华丽的漆画与雕刻贴金等装饰手法相结合，相互映衬，精彩生辉。 Lacquer painting is a common method of decoration in Chaozhou woodcarving. Pigment is mixed evenly into lacquer in a certain scale and painted to desired positions with a drawing brush. According to the material used, lacquer painting is usually categorized into gold-traced lacquer painting, gold-shined lacquer painting and pigmented lacquer painting, etc. The decorative methods of Chaozhou woodcarving are various, often featuring the combination of lacquer painting and coating, which achieves the effect of mutual setoff.

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一、 描金漆画Gold-traced lacquer painting,

说明： 在光素的漆面上，用红漆绘好画面，待红漆将干而未全干略带粘感时贴上金箔或涂抹金粉，然后罩透明漆，经推光后即可。工艺讲究的描金漆画，要在罩透明漆之前，用细毛笔蘸特制的“洗漆水”，在主体纹饰的轮廓线上清洗一次，从而突出主体，增强画面的空间感。The desired images are painted in red lacquer on smooth lacquered surface, on which gold foil or powder is applied while the red lacquer is nearly dry with a little stickiness. The coated surface is then covered with a layer of transparent lacquer and polished. In more demanding cases, a special lacquer solvent is applied to the contour lines of the images with a fine brush, so that more salient images and stronger stereoscopic effect are achieved.

展品：（清代）描金漆画人物山水、花鸟诗文薰炉罩 H724 长 24×

宽 24×高 31 Incense burner cover with gold-traced lacquer painting of figures,

flowers, birds and poems（Qing Dynasty）

图片：描金漆画“运畴高升”图Gold-traced lacquer painting featuring the pattern of getting promotions

二、 磨金漆画Gold-shined lacquer painting

说明： 磨金漆画是用松脂油调漆加金粉，在光素的漆面上涂绘

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画面，晾干后用木炭或磨石夹水打磨，使画面光亮平滑即可。多装饰在寿屏、屏风门、神龛、柜橱、馔盒、糖果架等器物的局部。The images are painted on smooth lacquered surface with the mixture of lacquer, turpentine and gold powder. Upon drying, the images are shined and smoothed with charcoal or holystone in water. This kind of painting is often used to decorate screens, shrines, cabinets, food containers and candy shelves.

展品：（清代）磨金漆画菱形馔盒 H734 高 46×宽 38×高18

Diamond food container with gold-shined lacquer painting （ Qing

Dynasty）

三、 彩漆画Pigmented lacquer painting

说明： 在推光漆板上先用画笔画出纹样，然后用漆绘笔粘彩漆料，以平涂法分别填入红、绿、黄等色，再用特制的铁笔开线，画好后罩上透明漆即可。彩漆画写实性较强，配色复杂多样，工艺要求较高，耗工费时，故不太流行。Images are painted on the smoothed lacquered plank with a drawing brush, and then pigmented lacquer is spread onto the images for coloring, after which a special iron pen is used to trace the contour lines. The painting is finished with a layer of transparent lacquer. The pigmented lacquer painting is not popular as it features realistic images, complicated colors, demanding craftsmanship, which consumes extra labor and time.

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展品：（清代）金漆木雕彩漆画菱形馔盒 H732 长 26×宽 23×

高 34

Diamond food container with pigmented lacquer painting （ Qing

Dynasty） 四、 铁线描漆画Iron-wire-traced lacquer painting

说明： 铁线描是潮州漆画艺术的一种独特工艺，其方法是在描金漆画、磨金漆画或彩漆画的基础上，用特制的铁笔在画面上刻划出人物、山水、器物等的轮廓和细部，使画面更加细腻逼真，因所刻划的线条细如铁线，故统称为铁线描漆画。如与磨金漆画结合，则称为磨金铁线描漆画；与彩漆画结合则为彩绘铁线描漆画。This is a unique decorative technique in Chaozhou woodcarving. A special iron pen is used to trace the contour lines or details of figures, landscapes and objects in ready-made gold-traced, gold-shined or pigmented lacquer paintings to achieve an exquisite and lifelike effect. As the traced line is as small as an iron wire, the painting is called iron-wire-traced lacquer painting. Such a painting on the background of a gold-shined lacquer painting is called a gold-shined iron-wire-traced lacquer painting, and a pigmented iron-wire-traced lacquer painting on the background of a pigmented lacquer painting.

展品：（清代）金漆木雕菱形馔盒 H784 长 41×宽 17×高 38

Gilt wood diamond food container（Qing Dynasty）

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说明： 盒盖外表作黑色推光漆处理，以金漆绘饰“汾阳世美”图、人物山水风景和喜上眉梢图，并以娴熟的铁线描工艺刻划细部，层次分明，人物栩栩如生。The cover of the box is lacquered in black and smoothed, on which spreads the gilt paintings of The Family of King of Fenyang, figures and landscapes and the “magpies and plum blossoms” (symbol of merriment) pattern. The details of these paintings are traced with an iron wire to achieve the effect of clearly demarcated layers and lifelike figures.

展品：（清代）磨金铁线描长方形馔盒 H751 长 36×宽 16×高41Rectangular food container with gold-shined iron-wire-traced lacquer

paintings （Qing Dynasty）

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图片：磨金铁线描人物风景图Gold-shined iron-wire-traced lacquer painting featuring figures and

landscapes

图片：磨金铁线描羊城风景图Gold-shined iron-wire-traced lacquer painting featuring the scenery

of Guangzhou

第四部分 器用篇Utilization

[部导言]

明清以来，潮州木雕日趋流行，广泛应用到建筑装饰、礼祭器具、家居陈设等各个方面并以其精湛的技艺、华丽的气派而成为潮汕地区广大民众普遍追求的社会时尚。With an increasing favor of decorative woodcarving among the Chaozhou-Shantou people in the Ming and Qing Dynasties, woodcarving was widely applied According to its use and function, Chaozhou

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woodcarving can be put into three categories: architectural

decorations ， ritual utensils and furniture placement. Colorful and magnificent woodcarving works became popular in the Chaozhou-Shantou areas.

[设计提示]

实物展品约 70 件（套），辅助展品有建筑模型、照片、图表等，同时配以多媒体一套，可模拟演示建筑饰件、礼祭器具、家具陈设等三大类木雕代表性作品的结构、组合及实际应用。

本部分为展览亮点之一，建筑饰件以模拟复原的方式加以展示，场景复原则采用开放式设计，力求逼真，使观众有身临其境之感。设计上要求布局合理，风格协调，使展品与环境自然融合，注意环境气氛的营造，既要便于观众参观，又要考虑展品的安全保护。第一单元 建筑饰件Architectural Decorations

[单元导言]

潮州木雕在祠堂、庙宇、民居等传统建筑上的应用十分流行，其中以祠堂木雕装饰最为精美，门厅、庑廊、拜亭、梁枋、屐头、挑檐、柱头、门楣、屏风、隔扇、门窗、栏杆、缠罩、檐板等部位大多饰以精巧细腻、金碧辉煌的木雕构件，整座建筑显得富丽堂皇，令人叹为观止。Chaozhou woodcarving is widely used in traditional buildings such as ancestral temples, Buddhist temples and folk houses. Decorative woodcarving is most exquisite in ancestral temples, with elaborate and magnificent woodcarving components in hallways, corridors, worship halls, beams, shoe ends, roof overhangs, column capitals, door heads, screens, partition boards, doors, windows, balusters and clapboards, which adds to the magnificence and charm of the whole buildings.

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图片：潮汕民居群落（黑白效果）Local-style dwelling houses of Chaozhou-Shantou

吊旗：图 片 ： 祠 堂 拜 亭 各 部 位 名 称

Name of each part of the worship pavilion in the

Ancestral Temple of Huang Jilue

图片：祠堂正座梁架各部位名称Name of each part of the beam mounting in the

Ancestral Temple of Huang Jilue

展品：（清代）木雕龙纹雀替 H2019 长 93×宽 25×厚 11

Carved queti (column bracket) with the pattern of dragons （ Qing

Dynasty）

展品：（清代）木雕彩绘鱼龙（一对） 长 80×宽 25×厚 11

Carved ichthyosaurs in color painting（Qing Dynasty）

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展品：（清代）金漆木雕狮托 H1571 长 35×宽 22×厚 10

Lion-shaped gilt wood cushion（Qing Dynasty）展品：（清代）木雕建筑构件 H1639－1 长 34×宽 22×厚 9

Carved components （Qing Dynasty）

展品：（清代）木雕必登花甲建筑构件 H1576 长 45×宽 17×厚13Carved components with the auspicious pattern of Succeeding in the

Imperial Examinations（Qing Dynasty）

展 品：通雕花鸟纹梁下饰件 H1815 长 151× 宽 24×厚 10 Ornament under the beam in openwork with the patterns of flowers and birds

展 品：通雕花鸟纹梁下饰件 H1826 长 151× 宽 24×厚 10

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Ornament under the beam in openwork with the patterns of flowers and birds

展品：（清代）通雕八骏图梁下饰件 H1776 长 114×宽 25×厚 10

（ 配 梁 架 底 纹 模 拟 复 原 ）

Ornament under the beam in openwork with the pattern of the Eight

Steeds（Qing Dynasty）展品：（清乾隆）木雕彩绘穿插枋（一组 4 件） H2063-2066

各长 61×宽 22×厚 7 （与图版配合展示）

Penetrating tie with woodcarving and colored painting (Qianlong Period of the Qing Dynasty)

展品：（清代）金漆木雕花胚（14 件，分 2组，左右相向）第一组：

H2223高 9.3 宽 50厚 6.5

H2224高 23.2 宽 50.8厚 6.1

H2225高 18 宽 32厚 6.3

H2227高 17 宽 32厚 5.5

H2229高 20 宽 29厚 6.8

H2233高 19.8 宽 42厚 6

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H2234高 21.5 宽 43厚 7

第二组：H2221高 25 宽 49.3厚 7

H2222高 20.8 宽 48.7厚 6.5

H2226高 19 宽 29厚 6.3

H2228高 19.8 宽 29.3厚 6.8

H2230高 19.8 宽 29.7厚 6.5

H2231高 20 宽 38厚 7

H2232高 19.5 宽 36.2厚 7

（配梁架底纹模拟复原）Gilt wood flower embryo（Qing Dynasty）

第一组

第二组展品：木雕描金瓜柱　　　H2237　　高 47直径 33.5厘米

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展品：木雕彩绘瓜柱　　　H223６　　高 45直径 39.5厘米第二单元 礼祭器具Ritual Vessels

[单元导言]

潮汕地区民间祭祀习俗隆重热烈，游神赛会活动热闹非凡，婚庆、寿礼等人生礼仪性活动铺张豪华，礼仪、祭祀、游神等活动中所用的器具十分讲究，古色古香、金碧辉煌的金漆木雕器具既可显示财富地位，又可渲染活动气氛，因而大派用场，神龛、神亭、神轿、神椅、香几、宣炉罩、糖枋架、寿屏、果碟、馔盒等礼祭器具无不精雕细刻，装潢华丽，成为潮州木雕的重要门类。The Chaozhou-Shantou people have a special enthusiasm for solemn ancestor worshiping ceremonies, crowded god worshiping parades, as well as extravagant weddings, birthdays and other personal celebrations. Utensils used in these events are all carefully selected according to certain considerations. Consequently, antiquated and magnificent gilt wood decoration enjoys great popularity as it is not only a symbol of wealth and position, but also a promoter of atmosphere. Shrines, booths, sedan chairs, armchairs, tables, incense burner covers, candy shelves, screens, fruits trays and food containers used in worshiping ceremonies are all finely and elaborately carved and colorfully decorated, which account for yet another category of Chaozhou woodcarving.

展品：（清代）金漆木雕小神龛 H596 高 44×宽 31×厚 9

Small gilt wood shrine（Qing Dynasty）说明： 神龛是潮汕民间供奉祖先神位的特制神器，形制有大小

之分，大者称神龛，小者俗称椟仔。整体造型庄重，制作精巧，是潮

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州木雕制品中做工最讲究的一种，以金漆木雕装饰最常见，以硬木制作的则多为素雕。神龛内部常作厅堂格式，置一小屏风，小屏风上多饰以描金漆画，或只是漆书或雕刻文字，叙述祖先的姓名、生卒年月及生平功德。有的内部设梯级，以供奉更多的神位。祭祀祖先时，打开神龛门，在神龛前摆放蜡烛、馔盒和供果，焚香烧烛，拜祭如仪。The shrine is a special worshiping utensil in which the tablets of ancestors are housed. It comes in either a large or a small size, each featuring solemn composition and exquisite craftsmanship, which makes it one of the most exquisite utensils in Chaozhou woodcarving. In most cases, shrines are decorated in gilt woodcarving, yet those made of hard wood are usually decorated with natural color carving. The interior of a shrine takes the form of a hall with a small screen inside, which is decorated with gold-traced lacquer paintings, lacquer calligraphy or inscriptions about the name, dates and major events of the worshiped ancestors. Some shrines have stages inside so that the spirit of more ancestors can be housed. Before the worshiping ceremony, the shrine door is opened, in front of which candles, a food container and fruits are placed. Then the worshiping ceremony starts with the burning of incense and the lighting of candles.

图片：大神龛各部位名称Name of each part of the big shrine

展品：（清代）神轿 H1892 长 74× 宽 74× 高 100 Sedan Chairs（Qing Dynasty） （与 H1895组合展出）说明： 神轿是大型祭祀器物，平时放置于祠堂或寺庙中，举行

迎神祈福活动时，将神像安放于交围椅上，由青壮年男子抬着参加

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游行。神轿一般由轿围屏、交围椅、中盘、轿脚和底座五部分构成。中盘两侧各有一前后贯通的方孔，平时以大小相同的木雕饰件封闭以保持外观完整，举行迎神活动时取下，将轿杠从方孔中穿过，便可抬着神轿参加游行。

These large worshiping utensils are stored in the ancestral temples or Buddhist temples at ordinary times and used only in parades and pray activities, when the sculpture of a certain god is placed in the enclosed armchair inside the sedan and carried by young men in the parade. The sedan chair is usually made up of five parts: the enclosing planks, the closed armchair, the frame, the legs and the base. On either side of the frame there is a square hole running from the front to the back, which is clogged with decorative woodcarving of the same size at ordinary times to keep an intact external appearance and opened in parades so that shoulder poles can be thrust through the holes to carry the sedan.

展品： （清代）神亭 H1891 长 82×宽 78×高 214

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Worshiping pavilions（Qing Dynasty）说明： 神亭是大型祭祀器物，平时放置于祠堂或寺庙中，每年

初春举行迎神祈福活动时，将神像安放于交围椅上，由青壮年男子抬着参加游行。These large worshiping utensils are stored in the ancestral temples or Buddhist temples at ordinary times and used only in parades and prayers in early spring, when the sculpture of a certain god is placed in the closed armchair inside the booth and carried by young men in the parade.

展品：（清代）薰炉罩 H704 长 26×宽 26×高 32

Incense burner cover（Qing Dynasty）说明： 又称宣炉罩、香炉罩，由底座和罩盖两部分组成，形状

以六角形和方形最常见。大多作髹漆贴金装饰，素雕者较少。罩盖顶部开孔，四周嵌饰雕刻精美的花板，有人物故事、花鸟、水族、博古等纹饰。平时用薰炉罩将薰炉罩起来，陈设于家中厅堂和书房的几案上。每逢喜庆之日或祭神祀祖时，便将薰炉取出，置于罩盖上，点燃炉中的香料，香气缭绕，满室生香，令人心旷神怡。Made up of a base and a cover, this utensil comes most commonly in hexagon or square. Most covers are lacquered and coated with gold foil with few exceptions of natural color carving. Cover is holed on the top while the sides inlaid with exquisite planks with patterns of figures,

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stories, flowers, birds, aquatic animals, and ancient patterns. At ordinary times, the incense burner is covered up and displayed on small tables in the hall or a study. In the case of celebrations or worshiping ceremonies, the burner is taken out and placed on the cover . The wreathing incense then fills the whole room and relaxes people’s mind.

展品：（清代）金漆木雕香炉狮 H1641 长 58×宽 33×高 70

Gilt wood lion-shaped incense burner（Qing Dynasty）

说明： 香炉狮是一种祭祀器具，造型似鼎，盖钮多雕成狮子形，故称为香炉狮。香炉内空，四周留有孔隙，祭祀时将香料放在铜炉内点燃，放进香炉狮内，香气从四周的孔隙缭绕而出，满堂生香。This worshiping utensil in shape of ding, is an ancient cooking vessel, with a lion-shaped cover knob, hence it is named as lion-shaped incense burner. The burner has an empty body with holes on the sides. In worshiping ceremonies, incense is lit in a bronze burner, which is then placed in the body of the incense lion. The incense then wreathes out from the holes of the burner to fill the whole room.

展品：（清代）长方形馔盒 H744 长 60×宽 21×高 42

Rectangular food container（Qing Dynasty）

说明：馔盒是祭神祀祖时放置贡果的器物，由底座、盒盖和果盘三部分组成，有长方形和菱形两种。盒盖顶部髹黑漆，四面嵌饰人物

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故事、吉花祥鸟、珍禽瑞兽等内容的木雕花板和图案纹样枋栏，精雕细刻，玲珑剔透，华丽庄重。平日陈设于家中厅堂的几案上，祭祀时将馔盒置于神案上或神龛前，打开馔盖，将底座和果盘叠放在盒盖上，摆上贡果，祭拜如仪。The food container comes in either rectangle or diamond and serves as a container for fruits in worshiping ceremonies, made up of a base, a cover and a tray. The cover is painted in black lacquer on the top with inlaid carved planks with design of figures, stories and patterns of auspicious and precious flowers, birds and animals. The woodcarving is elaborate and exquisite with a magnificent and solemn air. The food container is displayed on the table in the hall at ordinary times . It is placed on the sacrificial table or in front of the shrine before the worshiping ceremony. The cover is opened and the base and tray are placed on it. Then the worshiping ceremony starts with the loading of fruits on the tray.

展品：（清代）金漆木雕三牲贡盘 H1873-2 长 45×宽 80×高47

Gilt wood sacrificial tray（Qing Dynasty）说明： 三牲贡盘为祠堂内使用的祭祀器具，多为六角形，由底

座、托盘两部分组成。底座四周多镶嵌精细的木雕贴金饰件，题材有人物、花鸟、博古等多种。装饰考究，制作精美。祭祀时，将贡盘置于大神龛前，摆上猪牛羊三种祭品，进行祭拜。This worshiping vessel is used in the ancestral temple. It usually comes in hexagon and consists of a tray on a support. The base is usually inlaid with exquisite carved ornaments coated with gold foil with such patterns as figures, flowers and birds and ancient patterns. In the worshiping ceremony, the sacrificial tray contained with the three sacrifices of pig, ox and goat is placed in front of the large shrine.

展品：（清代）金漆木雕糖枋架 H635 长 52×宽 13×高 59

Gilt wood candy shelf（Qing Dynasty）

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说明： 糖枋架是祭祀用具的一种，造型多种多样，雕刻精致，大多作髹漆贴金装饰，显得豪华而又庄重。祭祀时置于神龛前的香几上，上面摆放米方糖（潮汕民间常见的一种食品）。This is one of the worshiping wares in various designs with exquisite carving. Most candy shelves are lacquered and coated with gold foil, which creates a magnificent and solemn air. In the worshiping ceremony, the candy shelf with fried rice candy (a common candy in the Chaozhou-Shantou area) is placed on the table in front of the shrine.

展品：（清代）金漆木雕烛架 H1622 长 39×宽 17×高 22

Gilt wood candle stand（Qing Dynasty）说明： 烛架是祭神祀祖时燃插大红蜡烛的架子，形制似插屏的

屏座，四周嵌饰人物故事、花鸟、博古等题材的木雕花板。架上开有两个小孔，各插一枝漏斗状的铜管。祭祀时，将烛架放在神案上，插上点燃的大红蜡烛，满堂生辉。The candle stand is a stand for red candles in the worshiping ceremony shaped like a screen stand. The sides of the stand are inlaid with carved planks with figures, stories, flowers, birds and ancient patterns. Two small holes are made in the stand, into each of which a funnel-shaped brass tube is fit. In the worshiping ceremony, the candle stand loaded with burning red candles is placed on the sacrificial table and to light up the whole hall.

展品：（清代）金漆木雕满堂红 H1858 高 160 厘米

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Gilt wood yipinhong candle stand（Qing Dynasty）说明： 满堂红是一种祭祀器具，形似扁瓶，外表多浮雕花鸟、

博古等纹饰，中间穿孔插一木柱，柱上设锡盘，祭祀时作擎烛用。平时置于香几两端，祭祀时明烛高擎，满堂红艳，故又称为满堂红。This worshiping ware is shaped like a flat vase with patterns of flowers ,birds and ancient patterns in relief on its surface. A stick with a tin tray on the top is fit into a hole in the middle. The stands are placed on both sides of the incense table at ordinary times and serves as candle.

展品：（清代）金漆木雕嵌书画小寿屏 H356 高 92×宽 160×厚 4Small gilt wood birthday screen inlaid with calligraphy and

paintings（Qing Dynasty）

照片：游神赛会　　　　　　（３张）God Parade Fair

第三单元 家具陈设Furniture placement

[单元导言]

潮汕民间的家具及陈设用品常以金漆木雕作装饰，色彩红艳，气氛祥和。其主要品类有眠床、几案、桌椅、橱柜、梳妆台、纸煤筒、灯

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芯筒以及小屏风、镜屏、圆雕狮子等摆设物。Furnishings in Chaozhou-Shan folk houses are usually decorated with gilt woodcarving uniquely featuring red color and peaceful air. These furnishings include beds, tables, chairs, cabinets, toilet tables, cans of paper strings for starting fire, lamp wick cans and such small things as small screens, mirror stands, and carved lions in altorelievo.

展品：（清代）金漆木雕茶担 H1885 长 50×宽 37×高 78

Gilt wood tea carrier （Qing Dynasty）

说明： 茶担是一种礼仪用具，平时存放于祠堂，每逢民间举行

游神赛会活动时用来挑担茶水，随游行队伍巡游，向负责游神活动的人员提供茶水，同时亦借此显示游神队伍的不凡气派。The carrier is for ceremonial use only. It is stored in the ancestral temple at ordinary times and used to carry tea in worshiping parades. The tea carrier is taken in the parade to supply tea to the one in charge of the parade, which also shows the importance of the worshiping parade.

展品：（清代）金漆木雕茶橱 H1881高 107×宽 80×厚 36

Gilt wood tea cabinet（Qing Dynasty） 说明： 茶橱是潮汕人存放茶具的橱柜。潮州人喝茶讲究，存放

茶具的橱柜同样考究，装饰华丽。茶橱设有门两扇，内设层板和小抽

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屉，可放置茶杯、冲罐、茶盘、茶船、茶叶罐、泥炉、火炭等物。茶橱门及橱两侧是装饰的重点部位，通常镶嵌多件透雕花板作装饰，题材以人物故事、社会生活、花鸟水族等最为常见。茶橱多陈设于民居厅堂，既实用又美观。Tea cabinet is for the storage of tea sets by the Chaozhou-Shantou people. They have many considerations not only in tea drinking but also in where to store the tea sets. The colorfully decorated tea cabinet has two doors, which open into shelves and drawers for storing teacups, teapots, tea trays, saucers, tea cans, mud burners and charcoal. The doors and sides of the cabinet are the focus of decoration, which is usually inlaid with patterned planks in openwork often with design of figures, stories, social customs and patterns of flowers, birds and aquatic animals. Tea cabinet is often displayed in the hall of a folk house, for both practical use and furnishing.

展品：（清代）金漆木雕灯芯筒 H1605 高 23×宽 16×厚 7

Gilt wood lamp wick can （Qing Dynasty）

说明： 灯芯筒是一种腹部较浅、用于存放灯芯草的器具，一般挂于离油灯较近的墙壁上。其造型多种多样，做工亦有精粗之别。富裕人家的灯芯筒，做工十分考究，具有很强的装饰性。This is a shallow can for storing lamp wicks usually hanging on the wall near an oil lamp. The can varies in design and craftsmanship. Lamp wick cans in rich families are exquisitely made for strong decorative effects.

展品：（清代）通雕纸枚筒 H1602-1、2 长 31×宽 7×厚 4

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Can of paper strings for starting fire in openwork（Qing Dynasty）

说明： 纸枚筒是插放“纸枚”（引火材料）的器具，状如筷子筒，竖式，深腹，多挂于书斋内的中堂两侧，一边一个，其雕刻题材多种多样，做工精细，令人喜爱。Paper strings for starting fire is for storing paper strings ,like a chopsticks tube. Such vertical deep can is often hung on either side of the hall or in a study. Themes of carving vary in exquisite craftsmanship, making it adorable.

展品：（清代）金漆木雕凉枕 H616 长 50×宽 14×高 14

Gilt wood summer pillow（Qing Dynasty） 说明： 凉枕是夏天使用的一种枕具，形制不一，枕面多为竹制，

且留有缝隙，凉爽透气。这是富裕人家使用的凉枕，四周有雕刻装饰，做工精细，多置于炕床上使用。This kind of pillow is used in summer with varying designs. The surface of the pillow is often woven of bamboo with spacing, which lets through air for coolness. This is the summer pillow from a rich family with decorative carving on the sides in exquisite craftsmanship. It is for use in the bed.

展品：金漆木雕提盒　　高 37 宽 11厚 15厘米Gilt wood tiered box

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图片：厢厅家具组合（几案 1、八仙桌 1、圆凳 2） （图片待选）

说明： 这是过去潮汕地区大户人家陈设于南北厅（厢厅）或书房的家具组合，由几案、方桌和圆凳组成。几案正面嵌饰通雕“七贤进京图”花板以及狮子、大象、葡萄等纹饰；方桌饰通雕花鸟纹和浮雕缠枝葡萄纹。圆凳则在束腰及腿足部位饰以流畅自然的缠枝葡萄等纹饰。整套家具除雕刻纹饰作贴金装饰以外，其余部位均髹以红褐色漆，色彩和谐，庄重而不呆板，富有生气。Gilt wood furnishing set of incense table, square table and round stools

This used to be the furnishing set in the side halls or study of a rich family in Chaozhou-Shantou areas, consisting of an incense table, a square table and round stools. The front of the incense table is inlaid with a patterned plank in openwork featuring the story of the Seven Scholars Going to the Capital for Imperial Examinations as well as patterns of lions, elephants and grapes. The square table is decorated with patterns of flowers and birds in openwork and patterns of intertwined grapevines in relief. The round stools are decorated with patterns of naturally intertwined grapevines in the contracted waist and legs. Apart from the coated carving, the rest of furnishing is painted in harmonious reddish brown lacquer, creating a solemn yet lively air.

展品：（清代）金漆木雕如意 H684 长 34×宽 10×高 8

Gilt wood ruyi （Qing Dynasty）

[场景复原] 4. Antique Imitation

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一、 潮汕祠堂正厅Hall of a Temple in Chaozhou-Shantou Area

展品：大屏风门 H1902 通宽 424×高 300

Large screen door

展品：大神龛 高 300×宽 190×厚 90 Large shrine

展品：金漆木雕八仙桌 长 83×宽 83×高 85 Gilt wood square table

展品：（清代）金漆木雕夔龙花鸟纹大香几 H1994 长 245× 宽 25× 高 135

Large gilt wood incense table

说明： 大香几是祠堂庙宇和大户人家使用的一种高足条案式家具，与几床（四方桌）搭配，长年陈设于大神龛前或厅堂上，几上可摆设香炉、烛台、馔盒、贡盘、镜屏、花瓶等礼祭用品。香几的大小视厅堂的宽窄而定。This is a high and long-shaped table used in temples and rich families. In collocation with a square table, it is constantly placed in front of the large shrine or in the hall and loaded with such worshiping utensils ,such as incense burners, candle stands, food containers, sacrificial trays, mirror stands and vases. The size of the table varies with the floor space of the hall.

展品：（清代）金漆木雕圆凳 H376-1、2 直径 33、高 55

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Gilt wood round stool（Qing Dynasty）展品：（清代）金漆木雕一品红 H1857 座高 83×宽 39

Gilt wood yipinhong candle stand（Qing Dynasty） 展品：（清代）描金漆画寿屏 H350 高 85×宽 130×厚 3

Birthday screens with gold-traced lacquer paintings（Qing Dynasty）展品：（清代）菱形馔盒 H762 长 48×宽 12×高 28

Gilt wood diamond food container（Qing Dynasty）

展品：潮绣过厅彩 DW45 长 400×宽 50 Chaozhou embroidery hanging

展品：（清代）金木雕小神龛 H714

Small gilt wood shrine（Qing Dynasty）

二、 潮汕传统民居卧室Bedroom of local-style dwelling house of Chaozhou-Shantou

展品：金漆木雕眠床 长 210×宽 160×高 200

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Gilt wood bed

展品：红漆大橱 DW47Red lacquer wardrobe

展品：二叠橱（连座）Cabinet

展品：红漆方椅头Square red lacquer chair

展品：红漆春凳Red lacquer stool

展品：红漆小条凳Red lacquer stool

展品：公婆椅（带几）Straight-backed chair

展品：梳妆台 DW48Dresser

展品：面盆架 DW49Washstand

展品：梳妆盒 DW50Dressing box

展品：潮绣床楣 DW51 Chaozhou embroidery bed cloth

展品：潮绣桌围 DW52 Chaozhou embroidery tablecloth

展品：盛格一担 DW54

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Hand-basket

展品：漆皮箱三个 DW55Patent leather case

展品：“五桶”一套 DW56 Bucket

二、潮汕传统民居厢厅场景Hall of traditional local-style dwelling house of Chaozhou-Shantou

展品：描金漆画炕床 H2246 长 223 宽 162高 122

Gold-traced lacquer bed

展品：金漆木雕凉枕 H616Gilt wood pillow

展品：金木雕古董柜 H1880Gilt wood cabinet

展品：金木雕挂落Gilt wood hanging panel

厢厅家具组合（几案 1、八仙桌 1、圆凳 2） 说明： 这是过去潮汕地区大户人家陈设于南北厅（厢厅）或书

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房的家具组合，由几案、方桌和圆凳组成。几案正面嵌饰通雕“七贤进京图”花板以及狮子、大象、葡萄等纹饰；方桌饰通雕花鸟纹和浮雕缠枝葡萄纹。圆凳则在束腰及腿足部位饰以流畅自然的缠枝葡萄等纹饰。整套家具除雕刻纹饰作贴金装饰以外，其余部位均髹以红褐色

漆，色彩和谐，庄重而不呆板，富有生气。展品：纸煤筒 H625

Can of paper stings

展品：灯芯筒 H1605

Lamp wick can

展品：薰炉罩 （H728重复使用，需另配）Incense burner cover

展品：潮绣过厅楣

第五部分 欣赏篇More Exhibits for Appreciation

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[设计提示]

展示木雕精品约 70 件（套） ，要根据展厅的具体情况及展品的特点定位展示，并采取灵活多样的展示手法，或单独展示，或分组摆设，展品的观赏角度、积木展架的匹配、照明效果等细节方面要精心设计，力求加强观赏效果。展品数量可根据展厅空间适当增减。展品：（道光三十年）磨金漆画西湖风景图大寿屏　H1949高285×宽 528

（提示：拟在三夹层通柜作单面展示）

Large birthday screens with gold-shined lacquer paintings of the west lake scenery (30th year of the Daoguang Period, Qing Dynasty)

说明：寿屏共１２屏，正面大屏肚以金漆手书贺寿序并题写寿联一副：“海屋筹添堂上祥开寿域，云璈乐尧庭前彩戏春风 。”大屏肚设内、外两层方栏，内方栏为通雕缠枝花卉纹；外方栏由上、下横肚及左右两侧企肚组成，其中上横肚及左右企肚饰通雕人物故事，神态各具，形象生动。下横肚为浮雕梅、兰、桃、菊、牡丹等名花异卉。下门肚则以变形云蝠纹作开光，开光内浮雕博古、瑞兽纹。寿屏背面装饰尤为精彩。外方栏饰浮雕博古炉瓶，内方栏则嵌饰

通雕缠枝花卉，大屏肚内以黑色推光漆为地，绘饰精细的铁线描金漆画，其中首、尾两屏为八仙骑八兽，其余 10屏全景式地描绘了杭州西湖的山光水色、风景名胜，其娴熟精湛的金漆画工艺令人赞叹。There are twelve parts in total of the birthday screens. Congratulations

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and a couplet are hand-written in the front panels of the screen doors . Double-layer square columns are set in the panels of the screen doors. The internal square columns are designed with interlocking sprays . The external square columns compose of upper and bottom transverse panels as well as left and right vertical panels . The upper transverse panels as well as the right and left vertical panels are decorated with figures and stories in openwork, lifelike and vivid. The bottom transverse panels are decorated with plum , orchid, peach, chrysanthemum, peony in relief. The bottom panels are reserved with clouds and bats design. Ancient patterns and auspicious animal patterns are decorated within the reserved panel. The decorations of the back are particularly exciting. Ancient patterns of stoves and vases in relief are decorated in the external square columns. The internal columns are decorated with interlocking flowers. Gold-traced lacquer painting against the background of black smoothed lacquer is painted in the large panels of the screen doors . The first and last screens are painted with the Eight Immortals on Auspicious Animals . The rest ten screens are painted with the beautiful West Lake Scenery in Hangzhou. The superb and skillful craft of the painting is impressive.

展品：（同治七年）磨金漆画豳风图大寿屏 H1948高 296×宽528

（提示：拟在三楼作双面展示）

Large birthday screens with gold-shined lacquer paintings featuring the artistic conception of the Book of Songs (7th year of the Tongzhi Period, Qing Dynasty)

说明：寿屏共分１２屏，正面屏心为祝寿序全文，外围设四重方栏，均以金漆画作装饰，其题材由内至外依次为：连枝花卉、回纹拱寿、人物故事及夔龙锦地纹。下屏肚绘人物山水图并围以花卉纹方栏。贺寿文为晚清时期广东著名人物何如璋撰写。寿屏背面分为大小80多个装饰面。大屏肚漆画由 10 个条屏式的画面组合而成，以《诗

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经·豳风·七月》一诗作题意，生动地描绘了耕种、收获、渔猎、纺织、筑屋、制陶、冶铁、郊游、祭祀等生产生活场面，反映了在传统的自然经济制度下，乡村生活一派祥和、人们安居乐业的美好景象。屏肚外围亦设四重方栏，饰以祥禽瑞兽、蔬菜佳果、江海水族、博古瓶花、书卷画册等纹饰。作品取景宏阔，人物神态生动，场景细腻逼真，具有极强的艺术感染力，是潮州木雕艺术的杰出之作。The birthday screens are divided into twelve parts. The front center is the congratulation text surrounded with four-layer square columns decorated with gold-traced lacquer paintings with themes of connected branches of flowers, looping lines supporting Chinese character “Shou”(Longevity ),figures ,stories and archaic dragon on brocade ground. The bottom panels are painted with figures and landscape surrounded by square columns with floral design . The congratulation text is written by He Ruzhang ,well-known person in Guangdong in the late Qing Dynasty. The back side is divided into more than eighty decorative boards. The Book of Songs • Breeze • July is taken as the title of a poem ,vividly depicting a scene of production and life, such as cultivation, harvesting, hunting and fishing, spinning and weaving, building a house, making pottery , smelting, outing and worshiping . It reflects harmonious rural life in the system of traditional natural economy .The panels of the screen doors are surrounded by four-layer external square columns decorated with auspicious animals, vegetables and fruits, rivers and lakes, ancient patterns and unfolding paintings, etc. The work is designed with a broad view of lifelike and vivid characters , realistic and delicate scene, having a strong artistic appeal . It is a masterpiece of Chaozhou woodcarving art.

展品：（光绪十一年）金漆木雕廿四孝图大寿屏 H1969高 316×

宽 528

（提示：H1969 与 H1932背靠背在三楼分别作单面展示）

Large gilt wood birthday screens featuring the stories of the twenty-four

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famous dutiful sons (11th year of the Guangxu Period, Qing Dynasty)

说明：此屏风为光绪十一年（1885）揭阳人蔡嗣华七十大寿时由其亲戚进献的贵重礼品。正面外枋栏嵌饰 32 件多层镂通雕花板，以人物故事、江海水族、瑞兽花鸟、博古炉瓶等为题材。中枋栏为通雕连枝花，内枋栏则饰以瑞兽花鸟间寿字纹。大屏肚以黑漆为地，手书祝寿文并贴以金箔。祝寿文由吏部拣选知县、丙子科举人蔡仲庸撰写，赐授修职郎、铨选儒学正堂、乙丑恩进士罗懋修手书。下屏肚嵌饰 12

件浮雕花板，首尾两件为人物故事，其余 10 件则浮雕博古瓶花、蝙蝠如意等寓意吉祥之物，而馔盒、宣炉罩、香炉狮、盛格等潮汕特有的礼祭用具亦赫然杂陈其间。整套寿屏形制巨大，题材独特，雕饰精细，豪华而庄重，且有绝对年代可考，殊为难得。This screen was made in the 11th year of the Guangxu Period (1885) by relatives of Cai Sihua for his 70th birthday celebration. The front external square columns are decorated by thirty-two planks in multilayer openwork with themes of figures and stories ,auspicious animals ,flowers and birds ,as well as ancient patterns. The middle square columns are designed with connected branches . The internal square columns are decorated with flowers, auspicious animals, birds and stylized character “Shou”(Longevity). The hand-written birthday congratulation text is written with foil coating against the background of black lacquer in the panels of the screen doors. The bottom panels are inlaid with twelve planks in relief .The first and last ones are decorated with popular figures , stories. The rest ten are decorated with ancient patterns of vases , bats and ruyi. Special ritual vessels of the Chaozhou-Shantou areas, such as food container , incense burner cover, lion-shaped incense burner and hand-basket are displayed . The screens are large in shape , unique in theme ,fine in carving , luxury and solemn. With accurate date, it is quite rare and precious .

展品：（光绪十三年）金漆木雕描金漆人物博古花鸟纹大寿屏

H1932 高 319×宽 564 Large gilt wood birthday screens with design of figures, ancients patterns ,birds and flowers (13th year of the Guangxu Period, Qing

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Dynasty)

说明： 寿屏是举行贺寿仪式时由众亲友定制，送给寿主的贵重礼物，规格大小不一，屏数少则 6扇，多则 14扇，多为双数，单数者较少见。寿屏的装饰面一般分屏肚、方栏、横肚等部分，饰以题材多样的贴金木雕或金漆画，其中首尾两屏装饰最为精美。大型寿屏还配有一对精美的屏头狮，设置在屏风左右两侧，显得更加气派。门肚的正面多手写或雕刻贺寿文（又称寿序）。贺寿文的末尾多题写献寿者姓名、籍贯、科举等第、功名记录、官衔职位及与寿主的关系。祝寿时，小寿屏一般设在神龛前的神桌上，大型寿屏则设在祠堂大厅上，呈“八”字形展开，寿屏前设筵席，大宴宾朋，充满喜庆气氛。Birthday screens are a precious present made by relatives and friends for the host of a birthday celebration. The screens vary in size and number, which ranges from six to fourteen, usually in even numbers. The decorated surface of a screen is divided into the vertical panel, the square column, and the transverse panel, etc., which is decorated with gold-coated woodcarving or gold-lacquer paintings. The screens at both ends of a completely set are the most exquisitely decorated. Large birthday screens are accompanied by a pair of carved lions on both ends, which creates a grand air. Congratulations are often written or carved into the front panel of the screen doors, at the end of which are recorded the presenter’s name, his place of origin, his achievements in the imperial examinations, his titles and positions as well as his relationship to the host. In the birthday ceremony, small screens are usually placed on the sacrificial table in front of the shrine while large ones in the hall of the ancestral temple in an opening funnel shape. The banquet is then held for all the guests and friends in front of the screens, which add a festive atmosphere.

展品：（宣统三年）金漆木雕人物故事大寿屏 H1940 高 303×宽

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540

（提示：拟在三夹层通柜作单面展示） Large gilt wood birthday screens featuring figures and stories (3rd year of the Xuantong Period, Qing Dynasty)

说明：屏风为揭阳巨商吴子松后人为追念先祖创业之功所特制。全套共 12屏，顶横肚、企肚、中横肚构成外枋栏，饰髹漆贴金通雕人物故事、江海水族、博古炉瓶等题材。内方栏饰花卉间寿字纹，中枋栏为松鼠葡萄纹。下屏肚为浮雕贴金人物故事图。垂角饰浮雕花卉纹。背面髹黑漆，无纹饰。二至十一屏大屏肚为金漆楷书吴子松家传全文， 由诰封奉直大夫、赏戴花翎、补用州判、谘议局议员、岁贡生陈乃勋撰写。诰授朝议大夫、赏戴花翎、候选知府、光绪辛卯科举人陈祺年手书。The large birthday screens are specially made by decedents of Wu Zisong( a famous merchant of Jieyang) for commemoration of the ancestors . There are twelve parts in total . Transverse panels ,vertical panels compose of external square columns decorated with stories and figures , rivers and lakes ,as well as ancient patterns in openwork ,lacquering and foil coating. The internal columns are decorated with flowers and stylized character “Shou” (Longevity). The middle columns are decorated with design of pine ,mouse and grapes . The bottom panels are gold-traced painting of figures and stories in relief. Drooping angles are decorated with floral design in relief. The back is painted with black lacquer . The family story by Chen Naixun was handwritten by Chen Qinian in the panels of the screen door betweens the second and eleventh screens.

展品：（清代）金漆木雕大神龛门 EW12 H1979高 280×宽 105

Large gilt wood shrine door（Qing Dynasty）（提示：与图片模拟复原大神龛）

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说明：此神龛门采用多种雕刻技法以及髹漆贴金、描金等工艺制作而成。龛门内外均有装饰。除雕刻“竹报平安”、“一路荣华”、“六和同春”、“鹤寿松龄”等吉祥图案外，更有“王茂生进酒”、“郭子仪祝寿”等人物故事。漆画部分以推光漆为底，以描金工艺绘“六国同盟图”、“腾王阁图”等。龛门形制高大，雕饰精美，华贵庄重。

The combination of various decorative techniques, such as gold-traced lacquer painting, lacquering and foil coating are used for making the shrine door .In addition to the auspicious patterns of Report in a Letter Home , Everything Is Well, Proceed Smoothly without a Hitch ,Spring Is Everywhere ,stories of Wang Maosheng Presenting Wine, Gu Ziyi Celebrating His Birthday are carved . Gold-traced lacquer paintings of Six States Alliance and the Tengwang Pavilion are painted against the background of black lacquer . The shrine door is large in shape, magnificent and solemn .

展品：（清代）金漆木雕长方形馔盒 H754 高 41×宽 28×厚 14

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Gilt wood rectangular food container（Qing Dynasty）说明：馔盒是潮汕地区民间传统祭祀活动中用于盛放祭品的器

物，一般由底座、盒盖、果盘三部分组成，造型常见的有长方形和菱形（又称龟背形、榄形）两种。平时置于家中厅堂的几案上，祭祀时将馔盒摆放在神案上，取出果盘，盘上放供果，进行拜祭。此馔盒为长方形，束腰式器座饰以卷草纹，足下压圆雕卧狮，足间牙板为通雕喜鹊闹梅纹，五个小果碟作对称式排列，高低起伏，碟架四周通雕福、禄、寿三星及夔龙、鱼藻纹。盒盖四周为多层镂通雕人物故事图花板并围以通雕卷草纹枋栏。雕工精细入微，人物形象生动。The food container comes in either rectangle or diamond and serves as a container for fruits in worshiping ceremonies in Chaozhou-Shantou areas, made up of a base, a cover and a tray. The food container is displayed on the table in the hall at ordinary times but placed on the sacrificial table or in front of the shrine before the worshiping ceremony, when the cover is opened and the base and tray are placed on it. Then the worshiping ceremony starts with fruits on the tray. This cover is rectangular with contracted waist base with design of grass scrolls. Lions are pressed under the feet . Patterns of Magpies on Plum Tree are carved between the feet .Five small fruits trays are arranged in symmetry. All sides of tray stand are carved with design of luck, official rank and salary ,longevity and archaic dragon ,as well as fish and algae in openwork . All sides of the cover are planks carved with design of figures and stories in sawn openwork, which are enclosed with design of grass scrolls in openwork .The woodcarving is elaborate and exquisite. The figures are lifelike and vivid.

展品：（清代）金漆木雕长方形馔盒 H750 高 42×宽 37×厚 16

Gilt wood rectangular food container（Qing Dynasty）

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展品：（清代）金漆木雕长方形馔盒 H738 长 43×宽 14×高 28

Gilt wood rectangular food container（Qing Dynasty）说明：馔盒以圆雕、通雕、髹漆贴金、金漆画等多种工艺制作而成，座足

饰压脚狮子，器座裙板、牙条作通雕装饰。“山”字形盒架四周饰通雕江海

水族图，架上置 5 个小碟。盒盖髹黑漆，前后两面设通雕花卉纹枋栏，内

饰铁线描金漆画人物故事图，人物五官、衣饰及山石草木的描绘无不精细

入微，画意浓郁。The techniques of altorelievo, openwork ,foil coating and gold-traced lacquer painting are used for carving this container with lion-shaped feet under the base.The base planks are carved in openwork. The stand in shape of Chinese

Character “山” with pattern of rivers and lakes in openwork. Five trays are

placed on the top of the stand . The cover is lacquered in black with carved

boards on both sides .Iron-wire-traced lacquer painting of figures and stories is

painted inside. Expressions and clothes of figures as well as mountains, grass

and plants are painted in detail. It is picturesque.

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展品：（清代）金漆木雕长方形馔盒 H742 长 30×宽 16×高 27

Gilt wood rectangular food container（Qing Dynasty）说明：馔盒基座为层台式，四足外翻，足间饰通雕松鼠葡萄纹裙板，

基座束腰部位饰通雕卷草纹。基座上设圆钱纹围栏，围栏内置带座果盘，盘座四面饰通雕人物故事。盒盖分别饰浮雕凤朝牡丹、博古瓶花及诗文，并围以连枝花草、金线等纹饰。装饰手法灵活多样，纹饰丰富，精巧雅致，独具匠心。The base is in shape of platform with four feet turning outward. Patterns in openwork of squirrels and grapes decorate the parts between feet. The contracted waist of the base is designed with grass scrolls. The vertical panels with design of money are put on the base . Fruits tray with base is put within the vertical panels . The tray base is decorated with figures and stories in openwork. The cover is designed with phoenix facing a peony, ancient patterns and poems enclosed by connected branches of plants and gold lines. Decorative techniques are flexible and diverse. The patterns are rich, sophisticated, elegant and initiative.

展品：金漆木雕神椟 EW29 H695 高 42×宽 28×厚 18

Gilt wood shrine

说明：神龛，是潮汕地区民间供放祖先牌位的礼祭用具。形制分大、小两种，大者叫龛，小者又叫神椟。大神龛多置于宗祠内，神椟一般置于家居厅内案几上。

该神椟采用描金漆画、多层镂通雕、浮雕等多种技法雕刻制成。

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两门亦分作六个部分装饰，传统的吉祥图案与人物故事兼有：牡丹花鸟、喜鹊闹梅、松鼠葡萄、灵芝花草，热闹、祥和的气氛扑面而来。The shrine is a special worshiping utensil in which tablets of ancestors are housed. It comes in a large or a small size, featuring solemn composition and exquisite craftsmanship. The large one is often placed in the ancestral hall and the small one is often put on the table of the hall. The techniques of gold-traced lacquer painting , openwork and relief are used to make the shrine. The two doors are divided into six decorative parts with design of traditional auspicious patterns ,figures and stories, such as peony ,flowers and birds, magpies on plum tree, squirrels and grapes, ganoderma and plants, lively and peaceful atmosphere rushing toward us.

展品：（清光绪）金漆木雕神椟 H709 高 27×宽 27×厚29

Gilt wood shrine （ Guanxu Period,Qing Dynasty ）

说明：该神椟综合运用了镂通雕、浮雕、沉雕和金漆铁线描漆画等多种工艺。底座为高束腰式，座下为膨牙腿，所嵌花板以“喜上眉梢”、“一路连科”等吉祥图案为题材。椟门正面以锯通雕花锦纹为地，上雕对联“奉政宣猷，贰守良辰资淑慎；思源报本，千秋俎豆荐馨香。”落款为“光绪庚寅年仲秋月敬书。”椟内设五扇推光黑漆小屏风，屏肚上以金漆手书纪念先祖功德的短文，四周嵌饰镂通雕花鸟、博古纹。做工精细考究，堪称上乘之作。Various techniques, such as sawn openwork, relief, intaglio and iron-wire-traced lacquer painting are used for making the shrine. The base is in shape of contracted waist with inflating feet. Plank is decorated with

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traditional auspicious themes of the Look Very Happy, Consecutive Success in the Imperial Examinations . Shrine door panel is inscribed with a short memorial article surrounded with design of flowers, birds and ancient patterns in sawn openwork .The workmanship is exquisite, which can be rated as work of superior quality.

展品：（清代）金漆木雕神椟 H1882 高 83×宽 59×厚 32

Gilt wood shrine（Qing Dynasty）说明：该神椟形制与大神龛相近。椟门由１２个装饰面组成，主

题纹饰为浮雕、通雕结合的教场比武图，在狭小空间内营造出激烈、紧张的比武场面，人物栩栩如生。龛内作台阶五级，每级红漆底上用金漆绘团寿字五个。台阶上置金漆画屏，饰以福禄寿三星、松鹿、松鹤、花蝶、鱼藻等纹饰。整件器物布局严谨，雕工精细，髹漆贴金工艺娴熟，金碧辉煌，华贵庄重。The shape of shrine is similar to the large ones. The doors consist of twelve decorative parts with themes of Taking Part in Wushu combined relief with openwork , creating grueling and exciting scene and lifelike figures in a narrow space .There are five steps inside on which five gilt Chinese characters “Shou”(Longevity ) are painted on red lacquer ground . Gold-traced lacquer painting screens with design of the Three Stars (luck, high official and salary longevity), pine and deer, pine and crane, flower and butterfly, fish and algae are placed on the steps. It is magnificent, luxurious and stately with rigorous layout , fine craftsmanship and skillful coating technique.

展品：（清代）金漆木雕方形薰炉罩 H728 长 35×宽 16×高48

Gilt wood rectangular incense burner cover （ Qing Dynasty ）

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说明：宣炉罩又称薰炉罩、香炉罩，由底座和罩盖两部分组成，造型以方形和六角形最为常见，雕刻十分精细，加上髹漆贴金或金漆画装饰，显得格外华丽，素雕者虽然较少见，但典雅庄重，别具特色。罩顶开孔，四周嵌饰雕刻精美的花板，有人物故事、花鸟、水族、博古等纹饰，雕工精细，制作精巧。平日置于家中厅堂和书房中的几案上，逢喜庆之日或祭神祀祖时，置宣德炉或小香炉于罩内，炉中燃烧香料，香气从罩顶的小孔和四周的孔洞缭绕而出，香气盈室，令人心旷神怡。

此宣炉罩为方形，四足外翻，足下垫小狮子，俗称“压脚狮”。足间四面裙板为精细的锯通雕花卉纹。底座四周围以通雕方栏。罩盖的四个立面通雕连枝花卉纹枋栏，内嵌人物故事、老鼠葡萄、梅兰竹菊等题材的通雕花板，精巧玲珑，美仑美奂。Incense burner cover consists of base and cover, mainly in shape of square and hexagonal, carved finely, coated with gold or decorated with gold-traced lacquer painting, being especially gorgeous. The plain color ones are rare, but elegant, stately and distinctive. Cover is made of holes surrounded by carved planks with design of figures, stories, flowers, birds, aquarium and ancient patterns, fine and ingenious. It is normally placed on the table of the hall or a study. Incense burner is put in the cover on festivals, or worshiping ancestors. Spices are burning inside the burner, refreshing.

This cover is square with four feet turning outward and small lions under feet, commonly known as "pressure feet lions." All sides between the feet are carved with floral patterns in openwork. All sides of the base are square columns in openwork. All sides of the cover are carved with

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flowers inlaid with patterns of figures, stories, mouse and grapes, plum, bamboo and chrysanthemum, exquisite and attractive.

展品：（清代）金漆木雕方形薰炉罩 H703 长 27×宽 27×高 34

Gilt wood rectangular incense burner cover（Qing Dynasty）

展品：金漆木雕方形薰炉罩 EW31 H706 长 27×宽 27×高32 Gilt wood rectangular incense burner cover

展品：金漆木雕方形薰炉罩 EW32 H771 长 25×宽 25×高31

Gilt wood rectangular incense burner cover

说明：潮汕地区的宣炉罩向以做工考究、装饰华丽而著称，木雕艺人极尽奇思巧艺之能事，根据用主的审美喜好，针对不同的装饰部位和题材，采用不同的雕刻技法加以表现。此宣炉罩四个立面分别采用了“文王访贤”、“鲤鱼跳龙门”、“喜鹊闹梅”、“福寿如意”等百姓喜闻乐见、家喻户晓的传统题材，工艺极为精湛，构图饱满，纤巧华丽。Incense burner cover of the Chaozhou-Shantou areas is well known for its exquisite workmanship and magnificent decoration. Woodcarving artists try to be different by using different carving techniques according to the

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aesthetic preferences of the user, decorative position and themes. This cover takes the popular themes of King Wenwang Visiting Jiang Shang

the Wisdom , Carp Leaping the Dragon’s Gate，Magpies on Plum Tree and Happiness ,Longevity and ruyi at all sides. The technique is extremely exquisite. The composition is full, fine and gorgeous.

展品：（清代）金漆木雕方形薰炉罩 H690 长 26×宽 26×高 2

Gilt wood rectangular incense burner cover （ Qing Dynasty ）

展品：（清代）金漆木雕六边形薰炉罩 H723 长 26×宽 26×高3

Gilt wood hexagonal incense burner cover （ Qing Dynasty ）

展品：（清代）金漆木雕三牲贡盘 H380 长 48×宽 40×高 33

Sacrificial tray（Qing Dynasty）

展品：（清代）金漆木雕糖果架 EW40 H765 长 85×宽 18×高44

Gilt wood candy shelf（Qing Dynasty）

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说明：木雕艺人别出心裁地将糖果架设计成展卷式，通体以 黑漆隔条分作 26 个宽窄、大小不等的装饰块，嵌饰锯通雕、通雕、多层镂通雕花板，融人物、花卉、瓜果、博古、瑞兽等多种题材于一体。正面 10 个透窗呈对称式排列，使整体的装饰性和空间感大大增强，充分展示了木雕艺人的奇思巧艺。Woodcarvers try to be different to design the candy shelf in unfolding type against the background of polished black lacquer. It is divided into twenty-six decorative boards by black lacquer lines inlaid with planks in sawn openwork, openwork, multilayer openwork, combining themes of figures, flowers, fruits, ancient patterns and auspicious animal into one. The ten windows in the front are arranged symmetrically, greatly enhancing the overall decorative effect and sense of space, demonstrating the special design and skill of woodcarving artists.

展品：（清代）金漆木雕糖果 H2032 长 80×宽 19×高 60

Gilt wood candy shelf（Qing Dynasty）说明：糖果架造型为双层牌坊式，呈弧形排列，前后均设六柱，

正面为装饰重点，通体装饰了松鼠葡萄、夔龙含草、喜鹊闹梅、龙凤呈祥、福寿双星等多种题材的通雕花板。造型独特，构思巧妙，雕工精细。The candy shelf is in double-arch type with curved arrangement of six columns . The front panels are decorated in openwork with squirrels ,grapes, dragon with grass, magpie on plum tree ,phoenix and dragon ,Double Stars (Luck and Longevity) , unique in shape, clever in plot and fine in craftsmanship.

展品：（清代）金漆木雕神轿 H1894 高 115×宽 85

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Gilt wood worshiping sedan chair（Qing Dynasty）

展品：（清代）金漆木雕茶橱 EW45 H1865 高 90×宽 65×厚42

Gilt wood tea cabinet（Qing Dynasty）说明：潮州素以“功夫茶”闻名，潮州人不但爱喝“功夫茶，而且放

置茶具的茶橱也特别讲究。茶橱门及两侧镶嵌雕工精细的金漆通雕。橱门自上而下划分为上横肚、门窗、下横肚三个装饰面，分别雕饰人物故事、花草及动物等。此茶橱门窗为两个层面的通雕，表现武打场面的人物故事，人物神情刻划得活灵活现，利用树枝、屋顶等景物巧妙分层，使两个层面既连贯又有层次感。上、下横肚雕刻一群神态凶残的猛狮奇兽，以呼应武打中的人物。整个饰面构图丰满，立体感强。茶橱两侧为素面，橱内为两层平板隔架，隔架与橱顶之间设有两个精致的小抽屉，设置合理实用。Chaozhou has a reputation for " Congou Tea " Chaozhou people are not only fond of drinking " Congou Tea”, but also care particularly about tea cabinet . Doors and sides of cabinet are carved in openwork . Doors are decorated with figures and stories ,flowers ,grasses and animals ,etc. The doors and windows of the cabinet are carved in openwork with figures and stories, lifelike and vivid . The upper and lower transverse panels are carved with auspicious animals. The entire composition is three-dimensional. The sides are plain in color .The two charming little drawers inside are reasonable and practical.

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展品：（清代）金漆木雕茶橱 H1863 高 93×宽 75×厚 31

Gilt wood tea cabinet（Qing Dynasty）说明：茶橱门饰面为“S”型金漆通雕，取材历史故事“穆桂英

挂帅”，以树枝、屋顶等景物自然形成三个层面，人物占的篇幅大，而景物较少，构图层次分明，人物栩栩如生，景物、人物互相对应。上、下横肚镶嵌“老鼠拖葡萄”、苦瓜、菊花等寓意吉祥的动物、花草。茶橱两侧饰面镶嵌变形柿蒂纹图案，工整美观。Tea cabinet is carved in openwork in shape of "S", featuring the historic story of Mu Guiying in Command . The natural branches, and roofs formed into three levels. Figures occupy a large space and scenery takes less space. The composition is unity and coherence .The figures are lifelike. Scenery and figures are corresponded one another. The upper and lower transverse panels are inlaid with Mouse Dragging Grapes, auspicious animals ,flowers and plants ,such as bitter gourd and chrysanthemum. Both sides are inlaid with patterns of the calyx and receptacles of a persimmon, neat and beautiful.

展品：（清代）金漆木雕茶橱 EW47 H1879 长 100×宽 83×厚37

Gilt wood tea cabinet（Qing Dynasty）说明：茶橱正面与侧面均镶嵌金漆通雕。两门窗饰面正中开光菱

花形，内雕“八仙骑八兽”，开光之外四角以卷草纹填满，与外围

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镶嵌的卷草纹通雕枋栏柔和相连，似为一体。整个构图以突出开光部分为主，“八仙”与“八兽”神态逼真，具有较强的立体效果。橱两侧中间部分饰面为八宝花瓶，寓意平安富贵、吉祥如意。The front and sides are inlaid with openwork woodcarving. The pattern of Eight Immortals on Auspicious Animals is carved in the diamond-reserved panel filled with grass scrolls patterns at the corner. The Eight Immortals and Eight Animals are lifelike with a strong three-dimensional effect. The middle parts of the sides are decorated with the Eight Emblems and vases ,meaning peace ,wealth and good luck.

展品：（清代）木雕锣鼓架 长 宽 高（补充尺寸）Carved wooden support for gongs and drums （The Republic of China）

展品：（民国）喜鹊闹梅花板 （1 对） H1368 各 长 93×宽 14×

厚 3

Gilt wood plank with the pattern of magpies and plum blossoms （ Republic of China）说明：作品以纯熟的浮雕技法雕成，梅树枝干苍劲虬曲，梅花

或含苞欲放，或灿然盛开；枝头上几只喜鹊或婷婷玉立，或振翅欲飞。一动一静，遥相呼应，闹意全出，令人如闻鸟的鸣唱、梅的幽香。作品构图疏朗，虽为雕刻而成，却颇有画意，堪称佳作。Relief technique is skillfully used in this work. The branches of plum tree are vigorous. Plum blossom is ready to burst or in full bloom. A few magpies stand on the branches gracefully or are ready to fly .The

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composition is graceful and ease. Although it is carved, it is quite picturesque, rated as an excellent work.

展品：（清代）通雕花鸟纹花板(一组 4 件) H484 各长 53×宽21×厚 3

Plank in openwork with the patterns of flowers and birds （ Qing

Dynasty）说明：作品采用通雕技法，细腻逼真地刻划了牡丹、莲荷、秋菊、

山茶等名花，并以小鸟、丹凤、芦雁、秋蝉、蚂蚱等穿插、点缀其间，一派生机勃勃的景象。作品纤巧细腻，饱满繁复，玲珑剔透，充分展示 了 潮 州 木 雕 的 艺 术 特 色 。

Openwork carving technique is used to carve flowers, such as peony, lotus, chrysanthemum and camellias delicately and vividly penetrated or dotted with birds, phoenix , goose, cicada and grasshopper , depicting a dynamic picture. The work is delicate and fine, full and complex, and beautifully wrought, demonstrating artistic characteristics of Chaozhou woodcarving.

展品：（清代）金木雕蟹篓（１对 H2165、H2166 长 宽 高（补充尺寸） Gilt wood Crab-cage（Qing Dynasty）

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展品：（清代）通雕鲤鱼跳龙门花板 H226 长 70×宽 38×厚4 Plank in openwork featuring the tale of Carp Leaping the Dragon’s

Gate（Qing Dynasty）

说明：我国古代神话传说：每年春季有鲤鱼数千赴龙门，争相跳跃，越过者为龙，不能越者则为鱼。后以“鲤鱼跳龙门”比喻在科举考试中幸运及第。According to the ancient Chinese myths and legends, every year thousands of carps in spring go to the Dragon Gate. The one who leaps becomes dragon .The one who fails is fish. Carp Leaping the Dragon’s Gate is a metaphor of succeeding in the imperial examinations.

展品：（清代）通雕五福临门花板（1 对） H329-2 长 56×宽28×厚 4 Plank in openwork with the pattern of five blessings coming to the

family（Qing Dynasty）

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展品：（清代）金漆木雕人物故事轿围屏 H746 长 160×宽 45×

厚 8 Gilt wood enclosing planks of a sedan chair featuring figures and

stories（Qing Dynasty）

说明：轿围屏是神轿装饰的重点部位，由 7 个构件榫接成马蹄形，安装在神轿交围椅的外围。此为轿围屏的展开图。图中可见 7 个构件的底部线脚均在同一条水平线上，顶部呈阶梯状，中间高，两端作对称式渐次降低。轿围屏的内面绘饰描金漆画，外面则嵌饰通雕花板，有“李白醉写番书”、“辕门射箭”、“加冠进爵”、“喜鹊闹梅”、“鲤鱼水藻”等题材，并环以连枝草纹枋栏。设计巧妙，雕工精细，人物生动逼真。Enclosing screens are decorative components on a sedan chair made up of seven planks tenoned together around the closed armchair. These screens are decorated with plain gold-traced lacquer paintings inside. The outside serves as the main area of decoration inlaid with patterned planks in openwork, featuring the themes of Li Bai the Drunken Poet Writing a Letter of Credence in the Barbarian Language , Shooting an Arrow at the Military Camp Gate , Promotion to Higher Offices, Magpies on Plum Tree, Carps and Algae, etc. These patterns are exquisite in design, elaborate in carving and vivid in figures.

展品：（清代）金漆木雕纸煤筒 H1603－2 长 29×宽 10×高 5

Gilt wood can of paper strings for starting fire （ Qing Dynasty ）

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说明：纸煤筒是过去潮汕民间用于插放引火材料——“纸煤”的器具，状如筷子筒，多挂于书斋内的中堂两侧，雕刻题材多种多样，做工精细，令人喜爱。此纸煤筒以苦瓜为整体造型，作者并没有把瓜的全部外表雕刻出来，而只是精雕细刻瓜的尾部，以局部体现整体。同时，在其省去的瓜身部位及背板雕刻缠枝茂叶、小瓜等，使大瓜缠小瓜、瓜瓞绵绵寓意子孙世代相传的吉祥涵义。作品构思巧妙，寓意深刻。Can of paper strings for starting fire , paper string device, is a material used by the Chaozhou-Shantou people to start fire in the early years. It likes chopsticks tube, hanging at the either side in a study . The carving themes vary . The craftsmanship is fine .It is loved by the people. This can of paper strings for starting fire is in shape of bitter gourd as a whole. The bigger bitter gourd wrapped the smaller ones, implying the auspicious meaning of many children . The plot is clever with full of implications.

展品：金漆木雕纸煤筒 EW69 H986 长 22×宽 8×高 2 Gilt wood can of paper strings for starting fire

展品：（清代）金漆木雕长方形馔盒 H749 长 37×宽 16×高 35

Gilt wood rectangular food container（Qing Dynasty）说明：馔盒以镂空通雕髹漆贴金和金漆画做修饰，三弯外翻足

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束腰座，“山”字形碟架，前后两面作书卷式布局，一面饰通雕人物故事，另一面饰鹤鹿、博古纹。盒盖饰铁线描金漆画山水图和“鸿门宴”故事。The container is decorated with techniques of openwork, foil coating and gold-traced lacquer painting .The base is in shape of contracted waist with feet turning outward . The tray stand is in shape of Chinese

character“山”. The front and back sides are in type of unfolding book. One side is decorated with figures and stories in openwork and the other side is decorated with crane, deer and ancient patterns. The cover is

decorated with an iron-wire-traced lacquer painting of landscape and the

story of A Dinner at Hongmen .

展品：（清代）金漆木雕菱形馔盒 H785 长 33×宽 14×高 30

Gilt wood diamond food container（Qing Dynasty）说明：馔盒为菱形，台基式器座之下再设一层底座，基座束腰

处饰通雕福禄寿三星、麻姑进酒等吉祥题材。盒盖饰描金漆画，一面为人物山水图，一面为上朝图。The container is in shape of diamond. The base is in shape of contracted waist carved with the auspicious themes of the Three Stars (luck, official rank and salary ,longevity ), Fairy Magu Endowing Wine. The cover is decorated with gold-traced lacquer paintings. One side is Landscape and Figures Painting .The other side is Going to Court Painting.

展品：（清代）金漆木雕神椟门（双面展示） H1743 高 38×宽32×厚 3

Small gilt wood shrine door（Qing Dynasty）展品：（清代）金漆木雕小神龛门（双面展示） H1714 高 32×宽

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28×厚 3

Small gilt wood shrine door（Qing Dynasty）

说明：椟门正面上下横肚通雕花鸟纹，门肚长方形，用一桌子将纹饰分两部分装饰，桌上刻瓶花、如意、花篮、铜鼎等博古纹饰，桌下刻丹凤、玉兔、蝙蝠、夔龙等祥瑞动物，整幅图给人以祥瑞、吉祥的感觉。门的背面上下横肚饰通雕花鸟纹，门窗在“亚”字形开光拱形面上锯通雕龟背纹、亚字形纹，中间以浮雕万寿菊、梅花相间，门肚在拱形面亚字形开光中浅浮雕两枝交缠的卷草纹形成如意头状，线条优美、流畅自然。雕工精细，疏密有致，髹漆贴金工艺好，在黑色推光漆的烘托下，金漆更显华丽。The upper and lower transverse panels in the front are carved with patterns of birds and flowers in openwork. Door panels are rectangular decorated with a table that separates it into two parts. The upper part is carved with ancient patterns, such as vase, ruyi, flower basket and bronze ding. The lower part is carved with auspicious animals ,such as phoenix ,rabbit ,bat and archaic dragon. The whole design gives an auspicious sense. The upper and lower transverse panels at the back are carved with birds and flowers in openwork. The window griller is carved with turtle design .The middle transverse panels are carved with chrysanthemum and plum in relief. The door panel is carved with ruyi . The carving lines are beautiful, smooth and natural. The carving craftsmanship is exquisite and moderate against the background of black smoothed lacquer. It is resplendent and magnificent.

展品：（清代）金漆木雕神椟门（双面展示） H1702 高 31×宽26×厚 3

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Small gilt wood shrine door（Qing Dynasty）

展品：（清代）金漆木雕描金漆画人物花鸟博古纹神龛门 H1755 高 30×宽 28×厚 2

Large gilt wood shrine door with gold-traced lacquer paintings of

flowers, birds and figures and ancient patterns （ Qing Dynasty ）

展品：（清代）金漆木雕对联花板（一对）H244高 72×宽 43×厚 4

厘米　　　　（注：要求特别展示）

Gilt wood plank with antithetical couplet (Qing

Dynasty)

对联窗花以多层镂通雕、浮雕和髹漆贴金等工艺制作而成，上、下联

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各雕蝙蝠衔梅、松鼠葡萄纹，其间穿插装饰缠枝葫芦、瓜瓞、石榴、佛手、牡丹、山茶花等纹饰作地子，浮雕行书对联并上黑漆推光，上联为：“家有现成题目曰父曰兄入则孝出则弟文章尽矣”；下联为：“人无别样工夫惟诚惟敬仰不愧俯不作学问全焉”。黑漆对联与贴金地子相映衬，格外醒目。行书联语似信笔而就，一气呵成，舒展流畅，堪称佳作。Multi-layer openwork, relief, lacquered and foil-

coated skills are used to make the window grille.

The upper and lower parts are carved with

patterns of bat with plum, grape and squirrels on

decorated ground of intertwined gourd, melon,

pomegranate, bergamot, peony and camellia, etc.

Couplets are written in running hand with black

paint polished .Black paint couples against the

golden background is striking to the eye. Running

hand seems to be carried through without

stopping, smooth and stretch, which can be called

a masterpiece.

展品:（清乾隆）通雕人物门肚 H276长 63×宽 38×厚 4厘米Door panel in openwork featuring the pattern of

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figures (Qianlong Period, Qing Dynasty)

作品采用潮州木雕常见的垂直构图，运用镂空通雕技法作三层镂雕。内容丰富，“蟹壳”里面的人物、骏马形态生动，形象逼真；建筑雕刻精细，华丽气派。四角的“开光”饰花草拐子纹，寓意富贵万代。A common vertical composition of Chaozhou

woodcarving is used in this work .Three-layer

openwork technique is used to express rich

content of vivid, lifelike figure and horse

inside "crab". Architectural sculpture is fine,

gorgeous reserved by flower and grass patterns to

symbolize wealth generation after generation.

Zhanpin :（清代）通雕“百忍堂”窗花 H289 长 66×宽 43×

厚 4厘米

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(提示：与 H339配对特别展示)Window grille in openwork featuring the story of

the Hundred “Ren”(Restraint) Hall(Qing Dynasty)

麟德二年(公元 665 年)冬十月，唐高宗同皇后武则天带领文武百官离京去泰山封禅，归来路经寿张县访贤，当时张公艺已 88岁高龄。当唐王问张公艺治家的方法时，张公艺写了一百个“忍”字，并解释：父子不忍失慈孝，兄弟不忍外人欺，妯娌不忍闹分居，婆媳不忍失孝心。唐王听后倍受感动，敕修百忍义门，并亲书“百忍义门”四个大字。 这两件木雕运用了镂空通雕与锯通雕相结合的技法，分为“蟹壳”和“开光”两个饰面表现题材。Emperor Gaozong and Empress Wu Zetian visited

Mount Tai on a ceremonial in October 665. They

visited 88 years old Zhang Gongyi who lived in a

harmonious extended family with nine generations

on their way back. When the emperor inquired

about his way of keeping the large family in

harmony, Zhang wrote the Chinese character “ren”

(meaning “restraint”) for one hundred times on a

piece of paper and presented it to the emperor.

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The emperor praised his conception and awarded

inscription to him. Skill of carved openwork

combined with sawn openwork is used in the

woodcarving works to express the themes in “crab”

and “reserved” decorative sides.

展品：（清代）通雕郭子仪庆寿神龛门窗肚 H339高 66×宽 43×厚 4

厘米Shrine door panel in openwork featuring the story

of Guo Ziyi Celebrating His Birthday (Qing

Dynasty)

(提示：与 H289配对特别展示)展品：（清代） 通雕人物故事花板（一对）H454 长 78×宽 9×厚 7

厘米

Plank in openwork featuring the pattern of

figures and stories (Qing Dynasty)

展品：（清末）长方形馔盒 H745长 48×宽 17×高 37厘米

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Rectangular food container (Late Qing Dynasty)

展品：（清代）木雕龛前瓶花 H1596长 24×宽 13×高 61厘米

Vase before wood shrine (Qing Dynasty)

龛前瓶花是潮汕地区传统祭祀器具之一，使用时摆放在神龛前的两侧。此件瓶座部分为六棱形，腹部以黑漆为底，绘饰人物故事、山水图金漆画；肩部饰金线，左右两侧浮雕对称式双狮耳，颈部绘花鸟博古纹金漆画。瓶口开隼眼，以整块木料雕刻菊花、茶花、石榴、牡丹等花卉为一束，安插在瓶座上。花束以圆雕、镂通雕、线刻和髹漆贴金等工艺制作而成，精致华贵。Vase before wood shrine is one of common

traditional ritual utensils in the Chaozhou-

Shantou area, placing on both sides of a shrine.

This vase base is in hexagon form with gold-

traced lacquer painting of figures and landscaped

on black lacquer background. The shoulder is

decorated with gold line with symmetrical lion-

shaped ears in relief on the left and right

sides. The neck is painted with gold-traced

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lacquer painting of birds, flowers and ancient

pattern .A bunch of carved chrysanthemums,

camellias, pomegranates and peonies is placed on

the base. Flowers are carved in techniques of

altorelievo, carved openwork, line engraving,

coating and so on, refined, and luxury.

展品：（清代）金漆木雕“喜鹊闹梅”神龛楣 H1665 长 81×宽 13×

厚 6厘米

Gilt wood shrine head with the patterns of

magpies and plum blossoms (Qing Dynasty)

该神龛楣采用镂通雕、浮雕、线刻、髹漆贴金等工艺制作而成。双凤、梅花、喜鹊组合图案是潮州木雕艺人常选用的装饰题材。口含宝珠的双凤，细长的凤眼、浅刻飘逸的羽毛；小鸟穿梭于梅花枝间，动感十足，镂通雕的梅树，花朵绽放，花蕾点缀枝头。虽然层次不多，但足能将“喜鹊闹梅”的意境展现在人们的眼前。Techniques of altorelievo, carved openwork, line

engraving , coating and so on are used to make

the shrine. Pattern of double phoenixes, plum and

magpie is a common decorative theme of Chaozhou

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woodcarving. Double phoenixes with pearl in

mouth, birds in plums blossoms are carved vivid

and dynamic. Plum tree is carved in openwork.

Although there are fewer layers, the mood of

"magpie on plum" could be shown in front of

people.

展品：（清末）通雕洋人建筑构件 H534长 27×宽 19×高 7厘米Building component featuring the image of

westerners (Late Qing Dynasty)

圆雕建筑构件，莲蓬下压着两个身着西装，手持文明棍的洋人。从构图比例上大下小，物大人小，似有对番人的贬低意味。

Building components press on two westerners in

suit with a civilized stick .The composition and

proportion of vessel and figures seem to degrade

westerners.

展品（清末）圆雕洋人贡碟 H1617长 9×宽 8×高 15厘米Tray rest in altorelievo with the images of

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westerners(Late Qing Dynasty)

鸦片战争以后，西方列强大肆入侵和掠夺中国，引起人们的憎恨和蔑视，潮州木雕艺人把人们的这种憎恨和蔑视的情绪巧妙地表现在木雕作品中，此对贡碟的圆雕洋人形象就是典型的一例。器身上两个西洋人物均曲膝弯腰，手持拐杖，头戴礼帽，足蹬长筒靴，腰插弯刀、小旗，随身带着葫芦，一副掠夺者的形象跃然而出。艺人将贡碟的承盘安放在洋人的背上，充分表达了时人对西方列强的不满情绪。After the Opium War, Western powers invaded and

plundered China wantonly, arousing people's

hatred and contempt. Chaozhou woodcarving artists

show people's hatred and contempt in woodcarving

works. The tray rest in altorelievo with images

of westerners is a typical example. The two

westerners on the vessel bent over, holding a

walking stick, wearing a hat and boots with a

knife, a flag and a gourd, showing images of

invaders. Artists put a tray on the back of

westerners to express discontent with the Western

powers.

展品：（清末）圆雕羊形贡碟 H1618、1619 长 13×宽 9×高 8厘

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米Sheep-shaped sacrifice tray in altorelievo (Late

Qing Dynasty)

木雕贡碟是潮汕地区民间使用的一种祭祀器具，形制较小，多为整块木料雕刻而成，其结构可分底座、器身和承盘三部分，器身多以狮、羊、麒麟等象征吉祥的动物为题材，以圆雕技法雕刻而成并作髹漆贴金装饰，精致小巧而不失庄重。此类贡碟常常成对使用，上放鲜果、方糖等食品，陈列于神龛前的几案上。此对贡碟分别以山羊、绵羊为主体造型，羊脚踏着元宝，背上驮着花篮形承盘。造型独特，寓意吉祥。Woodcarving sacrifice tray is a common worshiping

vessel in the Chaozhou-Shantou area. The shape is

small ,normally carved with a block of

wood ,divided into three parts of base ,supporter

and tray. The supporter is normally featuring the

auspicious themes of lions, sheep, Kirin and so

on, usually carved in altorelievo coated with

gold foil. In the worshiping ceremony, the

sacrifice trays are placed in pair in front of

the large shrine with fresh fruits and sugar. The

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sacrifice tray is in form of sheep, goat on ingot

carrying basket-shaped tray, unique and

auspicious.

展品：（清代）圆雕子母麒麟贡碟 H1615 长 11×宽 8×高 21厘米 Kylin-shaped sacrifice tray in altorelievo( Qing Dynasty)

展品：（清代）通雕孝行图花板 H449长 44×宽 23×厚 3厘米Plank featuring filial obedience (Qing Dynasty)

作品表现了“乳姑不怠”、“涤亲溺器”、“亲尝汤药”等中国民间广泛流传的孝行故事。“乳姑不怠”讲述了唐朝崔南山之曾祖母年老无齿，不能进食，祖母唐氏则以自己的乳汁喂养，保其身体安康。“涤亲溺器”是说宋太史黄庭坚，虽富贵显耀，在朝为官，对母亲的饮食起居却是亲力亲为，甚至亲自洗涤母亲的溺器。“亲尝汤药”则是汉文帝的孝行，刘恒虽贵为帝王，侍奉生母薄太后却从不倦怠。其母一病三年，刘恒日夜守护，甚至连汤药也要亲自尝试方才供母。反映出中国传统的孝悌观念。

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This work shows the popular filial folk stories

in China, such as Milking Great Grandmother,

Serving Mother in Person and Tasting Medicine for

Mother in Person. Milking Great Grandmother tells

the story of Cui Nanshan of the Tang Dynasty. His

great grandmother had no teeth and could eat

nothing. His grandmother fed his great

grandmother with her milk to keep his great

grandmother healthy. Serving Mother in Person

tells the story of Huang Tingjian of the Song

Dynasty. Although he was a high official, he

served his mother in person, even washed his

mother’s chamber pot. Tasting Medicine for Mother

in Person tells the story of Emperor Wendi of the

Han Dynasty. Although he was emperor, he served

his mother in person. When his mother had been

ill for three years, he waited upon his mother

day and night, even tasted medicine for his

mother in person before his mother took. The

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three stories reflect the traditional Chinese

concept of filial piety.

展品：（清末）六角形宣炉罩 H776长 41×宽 41×高 48厘米 Diamond incense burner cover(Late Qing Dynasty)

展品：（清代）通雕吉祥图案花板　　H299高 68×宽 40×厚 6厘米Plank with auspicious patterns(Qing Dynasty)

结 束 语Epilog

一千多年来，潮州木雕艺术植根于深厚的潮汕文化沃土，在富饶的潮汕大地上茁壮成长。她曾经灿烂过，辉煌过，为人们留下了无数亮丽多姿的人文风景。我们应当百般珍视她，用心呵护她，让她重现风采，再创辉煌！Gone is the golden time of Chaozhou woodcarving. However, it is to be remembered that it has once glittered brilliantly with dazzling light over the broad Chaozhou-Shantou area and constituted numerous sights with rich cultural connotation. The question is now posed before us of how to prize it, treasure it and resume its legends of glory and splendor.

（设计提示：以潮州古城图套底）