200多年前，全国顶尖木雕艺人会聚京城，历时三年，精雕细凿了一把最华贵、充满帝王霸气的乾隆宝座，但在上世纪60年代送到沈阳故宫博物院，并留在了沈阳。

　　2005年5月，北京故宫博物院准备复制一把。在紧张激烈的角逐中，我有幸被选中，经国务院招标办中标，获得故宫皇极殿乾隆宝座的复制工程。

　　乾隆宝座复制作品由地台、龙椅、屏风三大件组成，不能凭借想象而作，必须做旧如旧，大小一致，局部与细节精确到位。其工艺极为复杂，需经过测量、绘图、选材、雕刻、大漆、贴金、罩漆等数十道繁杂工序。其中难度最大的是木工结构、雕刻技艺和油漆工艺三大环节。

　　我带着木雕艺人三赴沈阳故宫考察研究，拍照、测量、观摩、记录，将乾隆宝座图案和雕刻手法了然于胸。然而，复制起来，许多难题接踵而至。原有的宝座十分严谨而巧妙，天衣无缝，恰到好处。我首先遇到的是木工结构问题。其屏风规格为高4.2米，宽4.5米，系八字七堂结构。通常的屏风底座的底宽大于屏风很多，形成稳固之势。但乾隆宝座的屏风底座很小，轻巧紧凑，几乎与屏风厚度相等，在视觉上差不多大小，且历经200多年仍很牢固。经再三研究后发现，先人是用8根屏风框穿过屏风底座与1.5米高的地台锁在一起，形成整体结构，既不变形又十分牢固，即使遇上大风也毫无关系。这才使我解开了底脚与屏风大小相等之谜，并采取相应的方法加以妥善处理，从而保证了复制工程的完美无缺。

　　屏风的盖帽比屏风要宽很多，其帽檐宽达45厘米，因此，显得很气派又美观。盖帽由龙和祥云构成，龙在云中穿梭，云在龙间飘逸。其蟠龙位于最顶端，龙头威风凛然，居高临下地俯视着前来拜见的人，给人以极强的威严和震慑之感。为此，我以圆雕的方法将一条条龙立体地雕刻出来。为了把它们雕刻得更形象、更逼真，我按比例先做好泥稿，再教师傅按泥稿雕刻，终于达到活灵活现的效果，且与周边的氛围很协调。

　　在木工结构中，我还遇到了八字七堂屏风中的割角难题。由于屏风八字形在视线上产生了一定的斜度，使屏风框架的纵横框形成内外、上下、弧长发生变化，形成了框档内侧上下弧长不等。因此，在制作纵横框的割角时，就会出现一定的裂缝间隙，从而形成高低不一，影响其平整度。为了解决这一难题，我几经努力，想了好多办法也一直无法解决。于是，我和木工师傅反复进行探讨和尝试，最后在制作工具上找到了突破口，就专门设计、加工了四把框线弧线不等的割角刀具，终于使得上下左右四条线在割角时能够连接与密封，达到了人们在视觉上四条不同弧度的线框平整合一、天衣无缝，并在视觉上看上去线条相等。

　　在乾隆宝座复制过程中，我遇到了第二大难题，就是雕龙难度极大。乾隆宝座中的雕龙技艺精湛达到炉火纯青、无以复加的程度。在中国历史上，皇帝是龙的化身，是真龙天子，故乾隆宝座上到处都是龙，以体现皇权的至高无上与尊贵。龙是主体，祥云只是点缀。龙椅靠背、扶手上有13条首尾相接的蟠龙，各种姿态的蟠龙盘旋在上面，支撑点极少，在镂空难度很高又要雕得玲珑剔透的情况下，且要保证其牢度。地台上的龙都是高浮雕的侧龙，围栏上的龙均为回花龙。屏风上的是腾龙，其龙腾空而翔，穿梭在祥云之中。栏板上的所有龙都是以浅浮雕雕刻而成的洋花龙。因栏板的功能是围护地台，故这里的龙不能喧宾夺主，主要是起衬托作用。从以上各种不同的龙中，我们就足以看出乾隆宝座的设计相当严谨与巧妙，既有皇帝一统天下的尊严，又有皇家的磅礴气势。其镂空团龙和浅浮雕回花龙，都隐喻着不同的等级关系。

　　如何把这些造型不一的龙雕得风格迥异、栩栩如生呢?经过认真分析研究后，发现皇宫中的龙与民间的龙有很大的区别。皇宫中龙头的脑门特别大，它意喻汇聚了人类所有的智慧，脑袋里装的东西特别多。其龙爪是五个爪子，称之为“五爪金龙”，仅用于皇宫，当时在民间只能用四爪或三爪，是不准使用“五爪金龙”的。如何把这些龙雕刻好呢?龙椅、站牙上所有的龙都是镂空雕成的，而且要贴金。每个部位龙的功能都不一样，不同位置的龙其雕刻风格也各不相同。楼梯扶手前的站牙龙，显示了它的威严，栏杆柱帽的球形龙，既要体现其使用功能，又要显示团龙的灵巧性。镂空团龙设计很巧妙，龙头和龙尾及四个龙爪在球体外面，龙身却在球体之内，团龙的内外贴满了金箔。当时，我在设计制图中想了很多办法都没能解决这一难题。一次偶然的机会，我从沈阳故宫博物院乾隆宝座一根破裂的栏杆柱帽上得知了玄机。原来，每条龙是分三块雕刻后拼接组合而成的。于是，按照先人的办法和雕刻工艺，我们把每条龙加以精雕细琢，从而使得每条龙玲珑剔透，富有生机。

　　皇极殿是宁寿宫的最大建筑，是乾隆皇帝计划在退政之后接见群臣和举行大典时用的，其宝座雕刻和金漆制作的工艺水平与太和殿大致相同，只是在形制上略小于太和殿的宝座系统，但大于紫禁城其它大殿的宝座系统。整套宝座屏风、龙椅和地台栏杆柱头雕刻部分均采用金箔罩漆工艺，其余地方为髹朱漆，故整体看上去金碧辉煌。这里所采用的油漆必须采用传统意义上的生漆。

　　生漆就是天然漆，又名大漆﹑土漆或国漆，它是从漆树上割下的天然汁液，是一种活性物质，主要由漆酚、漆酶、树胶质、水分及少量的有机物质组成。皇极殿乾隆宝座所罩髹朱漆是经过精炼的透明漆，使用前均需经过滤和炼制。中涂漆﹑上涂漆及罩髹和彩绘类使用的漆必须经过深加工制成推光漆﹑透明漆或彩漆。这是一种半透明的漆，刷涂在金箔上后，可以压制金箔光鲜刺目的浮光，既能显现金箔的华贵，又有温润含蓄之感，漆膜具有很强的抗磨损和抗酸碱腐蚀等特性，对金箔也能起到保护作用。这种金箔上罩透明漆的工艺，在漆工艺专着《髹饰录》中被归为罩明类中的罩金漆。皇极殿乾隆宝座是在金箔上罩漆，被称为金箔罩漆工艺。可惜这种工艺目前正在被“改良”的材料和工艺所替代，除了金箔未被人为替换外，金箔表层的罩漆或是被现代合成漆所替代，或是干脆被省去，将金箔直接裸露在外以追求金碧辉煌的效果。这种令人目眩的效果寿命远不及罩漆后的金箔，也失去了传统工艺中那温厚、含蓄的感觉。

　　经过无数次的试验，按照传统的生漆做法，我绞尽脑汁做出20多种深浅不一的罩漆颜色供专家挑选。故宫有关专家经过认真分析研究后，从中选取了一种最合适的颜色上漆，从而使得它略带紫红色，整个乾隆宝座色泽依旧，金碧辉煌且紫气升腾。为了做好乾隆宝座的油漆工艺，光金箔就用了10万多张。为了中和金色与红色的强烈色彩，龙椅靠背、龙椅四周的雕花背板均使用扫青和扫绿两种工艺，使这两种冷色点缀在大面积的暖色和朱红色之中，显得十分和谐。在屏风和龙椅底座四周均镶嵌碧玉等各色宝石，色彩中和的点缀效果显而易见。

　　金漆龙椅靠背的透雕花纹背景及龙椅四周透雕花纹的背景均使用扫青和扫绿工艺。使用的天然石青和石绿色，在整体金碧辉煌效果中起到了视觉调和的作用。这种工艺在漆器制作中并不常见，因为它是将颗粒状的颜料洒涂在尚未干燥的底色上，产生一种天鹅绒般的质感效果。由于其表面未采取任何保护措施，其金漆罩漆容易被磨损，故被巧妙地使用于透雕花纹之背景。这种巧妙的工艺在现实生活中一直被人忽视，仅在皇宫中使用。地台上的红色系朱髹工艺，相对较为简单，但难在漆的调和比例很难掌握，如漆中桐油太少则会影响朱色的明度，太多的话虽然能提亮朱色，但会随时间推移使颜色越来越淡,需要具有丰富的漆工经验来加以把握。这一个又一个难题，经过我们的努力，最后都一一迎刃而解，从而收到了“做旧如旧”的效果。

　　整个复制乾隆宝座工程，历时两年，70多名木雕技师花了5000多任务时，我倾注了大量心血，付出了极其艰辛的劳动，终于再现了康乾盛世时中国宫殿皇座的艺术风采，为故宫修复尽了我的一份心，出了一份力，为弘扬东阳木雕艺术作出了贡献。可以说，这是东阳木雕艺术界的一件具有里程碑意义的作品，是东阳木雕艺人向创造明清宫廷辉煌的木雕艺术先师的敬礼之作。我对先人完美的木工构架惊叹不已，对其精湛的木雕技艺钦佩至极，对其浑然天成的油漆工艺佩服得五体投地。通过复制乾隆宝座，我从中学到了很多的知识，丰富了我的阅历，这将让我终身受益，为此我感激不尽。

　　Reproduction

　　Huang Xiaoming

　　Two hundred years ago,our national top woodcarving artists gathering to capital, Vulture thin chisel,made this Qianlong throne which was most luxury and full of Imperial ambition in 3 years.But it was sent to Shenyang Palace Museum In the 1960’s,and stay in Shenyang.

　　May of 2005, Palace Museum in Beijing paln to copy one. In the fierce competition, I was very lucky to be selected. By the ZhaoBiaoBan of state council,I got the duplication project of Qianlong throne in the Imperial Palace Huangji .

　　The duplication project of Qianlong throne consists of three parts about floorslab,chair and screen,I must achieved that details entirely specific, do old endures and in the same size,not make it with imagination. The process is very complex,demanding measure, draw, select suitable material, carve, lacquer, gild and finishing paint so on,dozens of multifarious process.The most difficult process are woodworking structure, carving skills and paint technology three aspects.

　　I had went to Shenyang three times to take my investigation with woodcarving artist,take the photograph, measure, view and emulate, take notes,and finally had beliefs about the design and carving techniques of Qianlong throne. The first problem need to face is woodworking structure. The specification of this screen is that 4.159 metres high, 4.718 meters wide,which has his structure that character eight and hall seven. Normally,the screen’s base has a width more than the screen,to form a strong potential.But the screen’s base of Qianlong throne is small, light and compact,almost have the same thickness with screen, almost have the size on the vision,and is still very strong after two hundred years.After we studied it more times we found that our ancestor use eight root screen box across the screen base,and lock it with floorslab which 1.5 meters high together,to form the whole structure, neither deformation and very strong,even meet strong winds also have no question.This makes me know the secret of the floorslab have a equal size with screen,and take the corresponding method to deal it reasonable, so as to ensure the perfect of duplication project.

　　The nut cup of screen is more wide than screen,the caps is 45 centimeters wide, therefore, appeared glory and beautiful. Nut cup consist of dragon and clouds, dragon shuttle in the cloud,clouds float between dragon. The coil dragon located in the top,the head of dragon is down awe-inspiring, condescendingly looking down on to visitors,give viewer with extremely strong majesty and sense of awe.Therefore,I use the method of circular engravure to carve dragons first.In order to carve them more vivid,I made the mud draft at the ratio,then let our craftsman carve according to the mud draft sculpture,and achieved the effect of lifelike,and is very harmonious with the surrounding atmosphere.

　　In the woodworking structure,I also met the problem that the angle of character eight and hall seven. Because of the character eight screen produced certain angle in sight,which make a change in the frame of the screen and box about inside and outside,up and down and arc length, form the box up and down the long arc gear range.So,when we make the angle of vertical and horizontal box,it will be some gaps,and form different height, Influence its flatness. In order to solve the problem, tried many times,come up a lot of measures, nor has been solved.Hence I repeated study and try with carpenter master,at last we found a sally port in authoring tool,and specially designed and manufactured four cut Angle cutting tools,and made the four lines to connect and seal at cutting angle,arriving four lines in different radian level off in view,and look like in equal line.

　　In the reproduction of Qianlong throne,I must face the second big problem, that carving dragon is extremely hard.The artistry of carving dragon have reached a high degree of excellence. In the Chinese history. The emperor is the embodiment of the dragon,so there are many dragons in Qianlong throne, to reflect the supreme imperial power and dignity. Dragons are the lead,clouds are just ornament.The bank and handrail have thirteen curled-up dragons, appear in a variety,have few points.At the condition that Hollow ing out is in high difficulty and must carved exquisitely carved,and must guarantee its fastness,the dragons of floorslab are all high relief made, dragons of fencing are all back to take dragon. Dragons of screen are tonlon,they fly on the sky, shuttle in the clouds. Dragons of breast board are all made with basse-taille. On account of the function of breast board is embosoming floorslab,dragons of here can’t usurps the host’s role,mainly serve as a foil. From the above all sorts of different dragons,we can see that the design of Qianlong throne is quite rigorous and clever,both have the dignity of emperor skillfulness,and have the momentum of the royal majestic.The hollow out group dragons and basse-taille snapdragons are all represent the relationship between different levels.

　　How to carve this different formative dragons to different greatly in style and as natural as though it were living? After careful analysis,we found that there are very difference between palace dragon and folk dragon. The palace dragon’s head is particularly big, represent the head gathered all human wisdom, has put many things. Its legs is five claws, named “Golddragon with five claws”,only for the palace. At that time in the folk can only use four or three claws, “Golddragon with five claws” is forbade. How to carve dragons better?The dragons of emperor's chair and stand teeth are all carvedwork,and need to glid gold. Each part of the dragon function is not the same, also different positions of the dragon carving style is different.The stand teeth dagon before the stair armrest is displaying its majesty.The spherical dragon at the handrail and columncap both need reflect it usefunction,and show the flexible nature of group dragon.The design of hollow out group dragon is very ingenious,his head,tail and four paws are outside in the sphere,his body is inside,and were plastered with gold foil Internal and external. I has think a lot of means to solve this problem when I drawing but failed. A pure chance, I learned that mystery from a fracted handrail and columncap of Shenyang Palace Museum’s Qianlong throne.There are three carved parts joining together each dragon.Hence,I made them according to ancestor’s way and carving process, sculpture every dragon carefully, So that every dragon beautifully wrought and lively.

　　The Imperial Palace Huangji is the biggest construction of Ningshou Palace,it was planed by Qianlong using after retrieves, meet with his advisers and ceremonies.It was approximately the same with Taihe Palace at caving and production process level of gold lacquer, just in the shape is slightly less than Taihe Palace,but greater than other throne system of the forbidden city.The sculpture part as screen, chair and floorslab’s handrail, necking are all using gold foil covers paint craftwork, other local paint red paint,so looks resplendent and magnificent in whole.The paint we must use the traditional sense of raw lacquer.

　　Raw lacquer is natural lacquer,has his alternate name big lacker,soil paint or endemic paint.It is the natural juice from sumac,a kind of active material,is comprised of urushiol, laccase,gumminess, moisture and a small amount of organic matter.The red paint used in Qianlong throne is a transparent paint after refining,need filtrate and refine before using.The paint using in undercoat, superstructure paint and varnish,colour decoration must be the paint go through deep processing,named refined Chinese lacquer, celluloid paint or colour coatings.It was a kind of translucent paint,can suppress the bright and glare floating light of the gold foil after japanning.Both show the showily of gold fiol,and have the feel of tender and implicit.And that the film have the character of antifraying and acid and alkali corrosion resistance, also can protect the gold foil.This craft was classified cover gold lacquer at paint craftwork monographs .The craft of Qianlong throne is on gold foil,named gold foil varnished. Unfortunately,this craft is gradually replaced by improved materials and processes.Except gold foil,the paint of it is replaced by modern synthetic paint,or directly omit,let the gold foil outside to pursue the resplendent and magnificent effect.But this effect save time is not long,and lose it tender and implicit as in traditional technology.

　　After numerous experiments, according to the traditional raw lacquer practice,I made twenty-seven kinds of raw lacquer in different colour and luster for experts pick. After careful analysis of the experts,they choose one of the most suitable colors, making it slightly purplish red,the whole throne colour and luster are the same as before,resplendent and magnificent. In order to do the paint process of the Qianlong throne.we have used gold foil more than 100000 copies. To counteract the intense colour of gold and red,we use craft of brush and saul green in the carved backplane of the back and around, using two kinds of cool color to ornament large area of warm color and scarlet, appeared very harmonious.We set the jasper and all kinds gems at screen and around the base, colour the ornament effect is obvious.

　　We all use craft of brush and saul green in the carved backplane of the back and around.The natural azurite and mineral green,plan a role of a visual harmonic In the whole resplendent.This craft is rare in lacquerware,because it is granular pigment sprinkled besmear on the impression which has not yet dry,to produce a velvety texture effect. Because of its surface not take any protective measures,the gold lacquer cover paint is easy worn,so it was used in the curving flowers pattern background skillfully. This clever process has used in palace,but in real life it has been neglected. The red craft of floorslab relatively simple,but difficult point is the harmonic proportion is difficult to master.If the tung oil is little,it will be influence the radiancy of paint,to many although can carry bright,but will make more and more light color over time,needing to have rich painters experience to grasp. This one and one difficult problem, finally are solved after our efforts, thus received do old endures effect.

　　The whole copy Qianlong throne engineering is over two years, more than 70 woodcarving technician using more than 5000 work unit,I have pour into much effort, pay the extremely hard work, finally represent the art style of China's imperial palace throne at "Spirit Kangxi and Qianlong" period.giving my contribution to the repair of the Palace Museum and carrying forward dongyang woodcarving art.It can be said that this was a landmark work in dongyang woodcarving art,it is a salute work dongyang woodcarving artist consecrating to woodcarving art ancestors who have create the magnificently palace bright of Ming and Qing dynasty.I was surprised at the perfect woodworking architecture of ancestors,and admired the exquisite woodcarving skill,and the like nature process. Through the copy Qianlong throne,I learned a lot knowledge,it enriched my experience and let me benefit much for life,many thanks.

　　May 23th , 2011