中国工艺美术大师 满建民

满建民，第七届中国工艺美术大师，北京市特级工艺美术大师。师从刘金波、杜炳臣等雕漆大师，以擅长山水、动物雕刻闻名，从事雕漆创作50余年，至今仍坚持在创作一线。他在继承传统雕漆工艺的基础上推陈出新，首创嵌漆工艺，在高浮雕、圆雕等高难度技法上也有很大突破，尤其在创作山水、花鸟、走兽等题材的雕漆作品时，创造性地运用了镂空雕技法，加大了作品的表现力，增强了作品的艺术性和观赏性，形成了独特的创作风格。其作品《北京市市花大瓶》目前陈列于人民大会堂，《花好月圆》被澳门特别行政区政府收藏。多年来，满大师培养了大批专业人才，为雕漆技艺的传承做出了巨大贡献。

Man Jianmin, the 7th Chinese Master of Arts and Crafts, and a special level master of arts and crafts in Beijing. Under the guidance of lacquer carving masters such as Liu Jinbo and Du Bingchen, he is renowned for his expertise in landscape and animal carving. He has been engaged in lacquer carving for over 50 years and still adheres to the forefront of creation to this day. On the basis of inheriting traditional lacquer carving techniques, he innovated and pioneered the technique of inlaying lacquer. He also made great breakthroughs in difficult techniques such as high relief and round carving, especially in creating lacquer carving works on themes such as mountains and rivers, flowers and birds, and animals. He creatively used hollow carving techniques to increase the expressive power of the works, enhance their artistic and ornamental value, and form a unique creative style. His work "Beijing City Flower Vase" is currently on display at the Great Hall of the People, and "Beautiful Flowers and Full Moon" is collected by the Macao Special Administrative Region government. Over the years, Master Man has cultivated a large number of professional talents and made tremendous contributions to the inheritance of lacquer carving skills.

满建民大师的雕漆作品器型纷繁多样，雕工细腻精炼，线条精细流畅，层次泾渭分明，巧妙融合了国画艺术风格，融入了中国古典元素，刻画的山川峡谷层峦叠嶂，江河湖海波澜壮阔，人物形象惟妙惟肖，草木鱼虫栩栩如生。满大师的作品中，显现出刻刀在漆层中穿梭的游刃有余，透出了器物整体气韵的顺畅与通达。

The lacquer carving works of Master Man Jianmin are diverse and intricate, with delicate and refined carving techniques, smooth and precise lines, and distinct levels. They cleverly integrate the style of traditional Chinese painting and incorporate classical Chinese elements, depicting mountains, rivers, canyons, and magnificent rivers, lakes, and seas. The character images are lifelike, and the plants, trees, fish, and insects are lifelike. In Master Man's works, the effortless movement of the carving knife through the lacquer layer is evident, revealing the overall smoothness and fluency of the object.

作品《百鸟朝凤（双面）插屏》

Work "Hundred Birds Facing the Phoenix (Double sided) Screen Insertion"

作品以百鸟朝凤为题材，以天然大漆为雕刻主料，附加金属板为胎型，采用传统与现代相结合的技法雕制而成。雕工细腻精炼，手法娴熟精湛。正反两面主题不同但又相互照应，正面凤凰雄姿英发，百鸟栩栩如生，背面群山层峦叠嶂，树木鳞次栉比，文人雅士泛舟河上，流觞曲水，纵情天地之间。

The work is based on the theme of a hundred birds facing the phoenix, with natural lacquer as the main carving material and metal plates as the tire shape. It is carved using a combination of traditional and modern techniques. The carving is delicate and refined, with skilled and exquisite techniques. The themes on both sides are different but also complement each other. On the front, the phoenix is majestic and the hundred birds are lifelike. On the back, the mountains and trees are stacked one after another, and literati and scholars float on the river, drinking wine and enjoying the world.

作品《剔彩桃形春字捧盒》

Work "Picked Peach shaped Spring Character Holding Box"

作品为铜胎，其上先后髹饰绿色和红色大漆制作而成。作品在传统圆形春字捧盒的基础上进行了大胆改良，用桃形器型凸显庆寿的主题，独具匠心。盒身通体雕刻寿桃纹，与器型交相辉映。寿桃上雕刻三尖、四方花、老虎爪、古禄钱等五十多种锦文，结构复杂严谨，雕工精巧细致，设计师古不泥。

The work is made of copper tire, which is painted with green and red lacquer. The work is boldly improved on the basis of the traditional round spring character holding box, highlighting the theme of celebrating longevity with peach shaped vessels, showing unique craftsmanship. The box body is fully carved with longevity peach patterns, complementing the shape of the vessel. More than 50 types of brocade inscriptions, including three pointed, four square flowers, tiger claws, and ancient coins, are carved on the longevity peach. The structure is complex and rigorous, and the carving is exquisite and meticulous. The designer is not clueless.

作品《富贵寿考圆盘》

Work "Wealth and Longevity Examination Disk"

此作品为铜胎，胎上层层髹饰朱红色大漆，经数十道工序雕刻而成。作品刻画的是郭子仪拜寿的故事场景，人物众多、场面宏大，寓意吉祥。作品运用了高浮雕、深浮雕等多种现代高精尖的雕漆技法，层次分明、做工考究。作品人物形象多样，动静相宜，山石树木穿插其中，建筑雕刻立体感强，画面丰富自然、充实而又饱满。

This work is made of copper tire, with layers of vermilion lacquer painted on top, and carved through dozens of processes. The work depicts the story scene of Guo Ziyi's birthday celebration, with numerous characters and grand scenes, symbolizing auspiciousness. The work utilizes various modern and sophisticated lacquer carving techniques such as high relief and deep relief, with clear layers and exquisite workmanship. The characters in the work are diverse, with a balance between movement and stillness, interspersed with mountains, rocks, and trees. The architectural carvings have a strong sense of three dimensionality, and the visuals are rich, natural, and full.

作品《剔彩红楼对瓶》

The work "Picking Colored Red Mansions and Matching Bottles"

作品以红楼典故为创作主题，整体分四个大开光和四个小开光，分别为：《史湘云醉卧芍药》《晴雯撕扇》《海棠诗社》《听琴》和梅、兰、竹、菊四季花卉。人物采用高浮雕技法，形态各异，活灵活现；亭台楼阁古朴典雅，庄重大气；花草树木刻画逼真，栩栩如生。大小主题互相映衬，红楼韵味呼之欲出。

The work is themed around the allusions of the Red Chamber and is divided into four major and four minor blooms, namely: "Shi Xiangyun Drunken Lying with Peony", "Qingwen Tears the Fan", "Haitang Poetry Society", "Listening to the Qin", and four seasons of flowers including plum, orchid, bamboo, and chrysanthemum. The characters adopt high relief techniques, with various forms and vivid appearances; Pavilions, towers, and pavilions are simple and elegant, solemn and grand; The depiction of flowers, plants, and trees is lifelike and lifelike. The themes of different sizes complement each other, and the charm of the Red Chamber is about to emerge.

作品《百子嬉春图》

Work "Hundred Children Playing in Spring"

此件作品为脱胎，上髹黄、绿、红三色大漆雕刻而成。主题为百子游春，盒盖上描绘庭院内孩童们嬉戏打闹、一同摘果子、钓鱼等生动的生活场景。作品中，台栏池沼高低错落，上下称景，孩童三五成组，相互呼应，远近关系处理得丰满而不拥塞，繁复而不杂乱，明确而有节奏。盒边上下对称分为四组小景，采莲、捉迷藏、对弈等游玩、嬉戏的动人场景，主题鲜明，相互呼应，协调统一。

This work is a bodiless sculpture painted with yellow, green, and red lacquer. The theme is a hundred children's spring outing, and the box cover depicts vivid scenes of children playing and frolicking in the courtyard, picking fruits together, fishing, and other activities. In the work, the railings, ponds, and swamps are arranged in a staggered manner, known as the scenery above and below. Children are grouped in groups of three to five, echoing each other. The distance between them is handled in a rich and unobstructed manner, complex but not chaotic, clear and rhythmic. The box edge is symmetrically divided into four groups of small scenes, featuring touching scenes of lotus picking, hide and seek, and game playing. The themes are distinct, echoing each other, and coordinated and unified.