China bodiless lacquer is blessed with a long history, its based technique is derived from the ancient Dry Lacquer. With the development of the traditional paint process, dry lacquer is one of the inner tube skeleton structure.After spread to Japan and Southeast Asia. With the weakness of traditional lacquer art in modern China, the Ming and Qing Dynasties lacquer make only limited "tick rhino", "inlaid with mother" and several other varieties, hence, many old techniques gradually lost. On the basis of reviving the traditional art, Fuzhou Shen Shao’an improves the production process and become the fathers of modern China bodiless lacquer. After the Shen family for several generations of painstaking efforts to develop, Fuzhou bodiless lacquerware finally become master of modern China, Fujian become the center of an important foundation lacquer.
The biggest characteristic of Fuzhou bodiless lacquerware is slim. Since Fuzhou lacquerware came into being in the hands of Mr. Shen Shao’an, it has hereafter been enjoying well-known fame in and outside China for its magnificent colors, light and thin bodies, and ingenious designs. Early bodiless lacquerware only showed statues, longevity, etc., and later developed into fruits, animals and all kinds of utensils. Late Qing Dynasty to the Republic of China, With the opening of the door Fuzhou bodiless lacquerware went out of China, bodiless boutiques sent by Shen's family repeatedlyreceived awards abroad, and it further promoted the development of Fuzhou bodiless lacquerware industry. After the founding of the People's Republic of China, on the basis of Shen's lacquerware shop, Shen’s established a bodiless lacquerware companies, later transformed into bodiless lacquerware production cooperatives. In 1957, the first state-run Fuzhou bodiless lacquerware factory established and then the second. So far, Fuzhou bodiless lacquerware entered the most glorious period of history, the production scale greatly enhance, the artistic style is more diverse, and it become a national lacquerware industry leader.
The production of Bodiless lacquerware is a complex process, the raw material is extremely demanding, it requires more time and more labors, and its production process determines the specificity of the high cost. In China's reform and opening up to the market economy, the export orders reduce substantially, the first factory and the second were bankrupted in the 1990s, bodiless lacquer production was into the trough. In recent years, increasing the degree of social respect to handicrafts and supporting for traditional crafts by country, Fuzhou bodiless lacquerware ushered in the spring. Through field surveys and literature research, grasping the operating conditions of Fuzhou bodiless lacquerware industry, deeply analysing the current situations and discussing the way out is an important issue. As the lacquer industry base of China, the current problem of Fuzhou bodiless lacquerware also represents China’s situation, and to explore the road of change about Fuzhou bodiless lacquerware means to explore the Chinese lacquer revitalization of the road.

中国脱胎漆器源远流长，其脱胎技艺源自于古代的夹纻技艺。夹纻技艺伴随着传统的漆工艺发展而来，是传统漆工艺中内 胎骨架构成方式之一。后传播至日本及东南亚。近代中国传统漆艺渐行衰弱，明清以来漆艺制作仅局限于“剔犀”、“螺钿” 等几个品种，许多古老的技法逐渐失传。福州人沈绍安在恢复传统夹纻技艺的基础上，进行了制作工艺的改良，成为近代 中国脱胎漆器的开山鼻祖。后经沈氏家族几代人的苦心经营开拓，福州终于成为近代中国脱胎漆器集大成之地，为福建成 为后来中国重要的漆艺中心奠定了基础。
福州脱胎漆器的最大特点是轻薄，自从沈绍安创造并发展了福州脱胎漆器后，它就以色彩瑰丽、轻薄、精巧的特点在海内 外享有很高的声誉。早期的脱胎漆器仅为佛像、寿星等，后来发展到花果、动物和各式器皿等。晚清至民国时期，福州脱 胎漆器随着国门的开放走出中国，沈氏家族选送的脱胎精品屡次获得国外大奖，进一步促进了福州脱胎漆器行业的发展。 中国人民共和国建国以后，在沈氏漆器店的基础上建立了脱胎漆器公司，后来改造为脱胎漆器生产合作社。1957年在脱 胎漆器生产合作社的基础上成立了国营福州第一脱胎漆器厂和国营福州第二脱胎漆器厂。至此，福州的脱胎漆器进入了历 史最辉煌的时期，生产规模大大提升，艺术风格更加多样，成为全国漆器行业的领头羊。
脱胎漆器工序复杂，对原材料要求极高，费时费工费力，其生产工艺的特殊性决定了成本居高不下。在中国改革开放进行 市场经济以后，出口外销订单大量减少，一脱厂和二脱厂在上世纪九十年代相继破产，脱胎漆器的生产进入了低谷。近年 来社会对手工产品的尊重程度增加，加上国家加强了对传统工艺的扶持，福州脱胎漆器又迎来了春天。通过实地调查和文 献研究，把握福州脱胎漆器产业的经营状况，深入分析造成现状的深层次原因，探讨在当代社会情况下传统手工业振兴的 出路，是迫在眉睫的重要问题。作为中国漆艺产业基地的福州脱胎漆器的问题，也代表了中国目前漆艺的普遍情况，探讨 福州脱胎漆器的变革之路，也是探索中国漆艺的振兴之路。

1. 绪论
 2. 福州脱胎漆器的产生
 3. 沈氏家族对脱胎漆器的贡献
  3.1. 沈正镐
  3.2. 沈正恂
  3.3. 沈正怿
 4. 福州脱胎漆器的特点
  4.1. 胎体及工艺特点
  4.2. 福州独有的装饰工艺
 5. 近代脱胎漆器的变革之路
 6. 结论
 参考文献

• 潘 垒(中国无锡工艺职业技术学院 江苏 宜兴) | Pan, Lei
• 고정훈(동방문화대학원대학교 문화예술콘텐츠학과) | Ko Jeong hoon