摘 要 现象学是研究事物本质和表象呈现的学科，为探索漆画的艺术语言提供了一种新视角。本文运用梅洛·庞蒂的知觉现象学结合漆画的艺术语言进行分析，探讨大漆的物质价值与精神价值，由此丰富漆画的本体语言，发掘漆质的优越性，进一步强调漆画艺术语言的独特性，回到认识漆性的本真，主张艺术家亲身体验、知行合一，以获得最贴近精神核心的知觉。哲学中的“无”，不是指空无一物，而是无法用具体的物质来替换的东西，漆画作品中的精神思想正是处于“无”的状态。艺术家将艺术语言的具形化，把画面中的“无”表意出来，达到以漆造美的目的。而一件绘画作品的外在形貌是固定的，通过观者的意向性解读，产生出真正的“生命”。身体是具有意向性的，随着时间、空间环境、感知等因素不停变化，因此漆画中的艺术语言仅仅是“可见的”的形貌，真正的思想蕴含在“不可见”中，是知觉，让我们从“身体”走向“艺术”的美学呈现，让观者从在场的漆画客体出发探索不在场的漆画艺术精神之美。将“不可见”的知觉转换为“可见的”漆画艺术语言的过程中，“髹饰”是将漆画艺术语言具形化的有效手段。面对当代漆画中存在对漆画艺术语言的“东施效颦”，“词不达意”等现象，知觉现象学帮助我们剥开事物的表皮看到真实，用“纯真之眼”来看，让我们回到事物本身，回到身体对世界的知觉，改变漆画艺术语言的“应当如何”，推动我们转向“如其所是”，让我们在审美活动中更接近感性知觉。漆画的本体语言作为艺术语言，不是自然形成确立的，需要漆画家不停地创造。知觉本身就是随着时间、环境、情感等因素反复变化，所以对漆画媒介材料的了解与语言创造不是一蹴而就的，而这种“未完成”性质是漆画本体语言，毋宁说是绘画的魅力所在。构建起漆画本体语言的系统，是当代漆画转型的必经之路，如何保持漆画的“口音”，不离开大漆的语境，不失去特有的艺术品格是我们所面临的难题。知觉现象学是我们发展探讨漆画本体语言的有效理论方法。知觉现象学提醒我们关注“身体”，关注我们的视觉、触觉、听觉、味觉、嗅觉等感觉体验，并将这种感官体验统称为有精神的知觉，强调回到事物最本真的地方从身体出发去认识、发现、创造，关注相关科学、哲学、艺术，而不是将知觉与客观事实割裂开来，既不唯科学论，也不唯心论。这种哲思有助于我们把握漆画所独有的“漆性”、漆画媒介材料的审美特质，只有保持漆画“独特的肌理与质感”，它才有继续发展传承下去的必要性和可能。漆工艺特有的制作性，漆性所具备的不可复制性、偶发性，历史沉淀下的民族情感和东方审美情趣是其它绘画门类所不具备的。知觉现象学让我们回到漆画的本源，探索其物理漆性与人文漆性，创造漆画独有的语言系统和当代艺术形式。 关键词：漆画语言，知觉现象学，漆性，髹饰，知觉

ABSTRACT Phenomenology is a discipline that studies the essence and appearance of things, providing a new perspective for exploring the artistic language of lacquer painting. This paper uses Merleau Ponti’s perceptual phenomenology combines with the artistic language of lacquer painting to analyze the material and spiritual values of lacquer. Therefore, it not only enriches the ontological language of lacquer painting but explores the superiority of lacquer quality. Meanwhile, it further emphasizes the uniqueness of the artistic language of lacquer painting. By returning to the true nature of lacquer, it promotes the artist's personal experience, unity of knowledge and action, so as to obtain the perception closest to the spiritual core. The "nothing" in philosophy does not mean nothingness, but something that cannot be replaced with concrete materials. The spiritual thoughts in lacquer paintings are in the state of "nothing". For the purpose of creating beauty with lacquer, the artist embodies the artistic language by expressing the "nothing" in the painting. Through the viewer's intentional interpretation, a painting with a fixed appearance can produce a real "life". The body is intentional and constantly changes with time, space, environment, perception and other factors. Therefore, the artistic language in the lacquer painting is only the "visible" appearance, and the real thought it contained in the "invisible" is perception. It is the perception that enables us to move from "body" to "art" aesthetic presentation, allowing the viewers to explore the spiritual beauty of absent lacquer painting from the lacquer painting objects from the present painting. In the process of transforming the perception of "invisible" into the artistic language of "visible" lacquer painting, lacquer decoration is an effective means to concretize the artistic language of lacquer painting. In the face of contemporary lacquer paintings, such phenomena as "random imitation" and "poor expression" of the artistic language in lacquer paintings, perceptual phenomenology helps us to peel off the skin of things to see the truth. With the “pure eyes”, the phenomenology of perception brings us back to the things themselves and the body's perception of the world. Meanwhile, we are closer to thing itself in aesthetics because it changes the "how should" of lacquer painting art language and facilitates us to "as it is". The ontological language of lacquer painting is not established naturally but created continuously. Perception itself changes repeatedly with time, environment, emotion and other factors. As a result, the understanding of lacquer painting media materials and language creation cannot be achieved overnight. However, this "unfinished" is the main language in lacquer painting rather the charm of painting. It is the only way to construct the ontology language system of contemporary lacquer painting. Without leaving the context of lacquer and losing the unique artistic character, how to maintain the "accent" of lacquer painting is a difficult problem we are facing. Perceptual phenomenology is an effective method for us to develop and explore the ontological language of lacquer painting. We are reminded by perceptual phenomenology to pay attention to the "body" and our sight, touch, hearing, taste, smell and other sensory experiences, which are collectively referred to spiritual perception. It emphasizes returning to the most authentic place of things to know, discover, and create from the body, focusing on relevant science, philosophy and art, instead of separating perception from objective facts. It is neither scientific nor idealistic. This kind of philosophy helps us to grasp the unique "lacquer properties" of lacquer painting and the aesthetic characteristics of media materials in lacquer painting. Only by maintaining the "unique texture" of lacquer painting can it be necessary and possible to continue to develop and pass on. There are something unavailable in other painting categories，such as the unique "action" of lacquer craft, the non-repeatability, fortuity and indelible national emotion as well as the oriental aesthetic taste of lacquer. Perceptual phenomenology allows us to return to the origin of lacquer painting and creates a unique language system and contemporary art form in lacquer painting by exploring its physical and humanistic lacquer properties. Key Words：Lacquer Language， Perceptual phenomenology Lacquer， Lacquer decoration，Perception