Core Viewpoint - The article highlights the initiative in Chongqing's Chengkou County to integrate traditional lacquer art with employment opportunities for individuals with disabilities, showcasing the success of the "Forget Me Not" lacquer art space in training and employing special craftsmen [1] Group 1: Initiative Overview - In 2022, Chengkou launched the "Hundred Million Benefit for the Disabled" initiative aimed at creating a base that combines intangible cultural heritage with employment for disabled individuals [1] - The "Forget Me Not" lacquer art space employs artisans with hearing impairments, physical disabilities, or autism, emphasizing their role as "special craftsmen" [1] Group 2: Training and Employment - Professional lacquer art teachers from Fujian and Shandong were invited to provide targeted training for the artisans, enabling them to independently create lacquer paintings after three months of training [1] - Over the past three years, Chengkou has conducted lacquer art training, successfully training more than 40 special students, with 21 becoming "special craftsmen" employed at the workshop [1] Group 3: Impact and Expansion - The workshop model has been replicated in multiple towns within Chengkou, helping a total of 56 disabled individuals and their families achieve employment close to home [1]

漆艺，作为中华文脉绵延千年的重要载体，材料属性与工艺特质别具一格，蕴含着华夏文明的审美基因 与文化密码。脱胎于传统漆器工艺的漆画，自20世纪诞生以来，一直在追求工艺之美和绘画之美的融合 中不断丰富创作面貌。新时代，漆画实现了怎样的拓展？又该如何健康发展？正在举办的第七届漆画展 览为透视漆画打开一扇窗。 自1984年第六届全国美术作品展览漆画成为独立画种以来，40余年发展历程中，关于漆画的图式建构、 材质特性、形式边界等关键议题的探讨从未停歇。从工艺化与装饰性的尺度把握，到表现手法的多元尝 试，行业内外逐渐凝聚起共识，即坚守漆画自身画种特质与语言辨识度。漆材的独特性与工艺的丰富 性，为漆画提供了广阔的表现空间——既可追求油画的厚重质感，亦可模拟水彩的通透灵秀，还能借鉴 水墨的泼洒意趣，但这些探索始终绕不开一个根本命题：作品是否真正具备漆画独有的特征与品质。当 下，越来越多创作者的实践反思与学界的理论建构形成呼应：无论技法如何繁复多变，"漆性"的彰显始 终是漆画的立身之本。而关于"漆"与"画"、"技"与"艺"的长期探讨，也已形成明确共识，即技术性与艺 术性是现代漆画创新发展的双轮驱动，二者相辅相成、缺一不可。 漆 ...

Core Viewpoint - The article highlights the dedication and innovation of Master Liang Zhongxiu in preserving and revitalizing the ancient craft of Pingyao lacquer art, transforming it into a global treasure over his 50-year career [1][4]. Group 1: Master Liang's Journey - Liang Zhongxiu began his lacquer art journey at the age of 17, training under renowned master Xue Shengjin, where he honed his skills in traditional techniques and studied classical art [2]. - He furthered his education at Sichuan Fine Arts Institute and Guangzhou Academy of Fine Arts, merging academic techniques with traditional Pingyao lacquer craftsmanship, leading to the creation of new processes like "gold, silver, and shell inlay" [2]. - His works have received numerous accolades, including the Craft Award at the first China Lacquer Painting Exhibition and a gold medal at the World Handicraft Conference, establishing him as a leading figure in the field [2]. Group 2: Passing on the Craft - Liang Zhongxiu actively trains young artisans in his studio, emphasizing the importance of skill and dedication in lacquer art, with several of his apprentices achieving recognition as provincial and municipal masters [3]. - He has established multiple platforms for talent development, including guest professorships and workshops, contributing to the growth of Pingyao lacquer art and its economic impact [3]. - The "Pingyao Zhongxiu Lacquer Art Culture Research Base," built by Liang, serves as a vital hub for the living transmission of this intangible cultural heritage [3]. Group 3: Global Recognition of Chinese Lacquer Art - Liang's innovative approach combines traditional craftsmanship with modern design principles, enhancing the cultural depth and regional characteristics of lacquer art [4]. - His works have been commissioned for significant institutions, including the Great Hall of the People and various embassies, showcasing the evolution of Pingyao lacquer from folk art to high-end artistic expression [4]. - Since the 1990s, his innovative products have been exported to Europe, America, and Asia, significantly contributing to national revenue and elevating Pingyao lacquer to an esteemed art form [4].