故宫奉先殿后殿神龛营缮历史与髹饰工艺考

The Lacquering Technique and Conservation History of the Fengxiandian Shrines

摘要:

奉先殿是紫禁城内皇室祭祀祖先的家庙，重建于顺治年间，后殿内原设 11 座神龛，供奉清朝历代帝后神位，20 世纪 60 年代因展览改造，神龛拆卸解体，收归库房保存。各座神龛为清朝历代依次修造，形制与装饰做法高度相近。科学检测表明，神龛表面装饰层均以传统大漆髹饰，露明位置满贴金箔，不露明位置或使用单漆做法。 各时期的髹饰做法大体遵循同一套规范工序：在木基层上依次做捎当灰—布漆—漆灰—糙漆（垫光漆）—朱漆，而后在朱漆表面贴金，最后涂刷掺有桐油的透明罩漆。这与 《髹饰录》和清代漆作则例等文献记载高度吻合。综合比对检测结果与文献史料，可以确认，神龛装饰层在清代共经历两次有据可查的修缮，一次是道光元年（1821）孝淑睿皇后神龛的赔修，简单修补了表面漆饰；一次是道光二年 （1822）前七座神龛的全面大修，修改了木胎尺寸，并将漆饰整体见新。另外，第四座神龛在雍正至嘉庆年间还有过一次针对漆饰的零修。道光及道光之后所修造的末四座神龛，在落成后未再经历任何修缮。不同时期的金箔成色有别，导致各座神龛的金饰色调并不完全相同。

Abstract:

Fengxiandian (Hall of Ancestral Worship) is a worship place in the Forbidden City, where the emperor offered sacrifices to his ancestors. It was rebuilt in the Shunzhi reign period. The eleven shrines of the north hall, dedicated to eleven emperors and empresses, were disassembled and put into storage in the 1960s; they were replaced by modern reconstructions. The original shrines were built in different periods, with a high degree of similarity in shape and size. Scientific analysis shows that the surface of each shrine was decorated with lacquer and gilded, except for some invisible parts which were just lacquered. In general, the lacquering technique followed a set of standard procedures. On a base of wood, several decorative layers were applied: leveling plaster—fabric— course plaster—ground lacquer—red lacquer; then gold leaf was pasted onto the red lacquer; a varnish layer made by transparent lacquer and Tung oil was applied last. This is highly consistent with historical literature, such as the Xiushilu (Book of lacquer) and the Qing-dynasty regulations and precedents (zeli). However, scientific analysis and historical documents confirmed that the surface decoration of the Fengxiandian shrines was restored twice during the Qing period: firstly, the lacquered decoration of the shrine of empress Xiaoshurui was retouched in 1821; and secondly, the timber structure and lacquered surface of the first seven shrines were repaired in 1822, and the decoration of the forth shrine was restored. The last four shrines were made in the Daoguang period and have never been touched after completion. Furthermore, the purity of gold leaf varies from period to period, resulting in a different tint of gilded surface for each shrine.