明末清初南京套印版画研究

发布时间：2018-01-02 11:49

  本文关键词：明末清初南京套印版画研究　出处：《南京艺术学院》2016年博士论文　论文类型：学位论文

  更多相关文章： 明末清初 南京套印版画 版本

【摘要】：明末清初,南京三山街一带是出版的集聚地,在这里涌现出胡正言《十竹斋书画谱》、《十竹斋笺谱》、吴发祥《萝轩变古笺谱》、闵齐O《会真六幻图》、李渔《芥子园画传》,它们代表了中国木版彩色套印版画的最高水平,在同一个地域、同一个时间段,这些版画家之间通过交游,有直接或间接的关系,这些画谱之间也有先后的影响与借鉴。本论文在考证他们生平交游的基础上,主要通过比较分析来研究这些画谱之间的关系。每种画谱的旨趣定位、画谱的题材和来源、设计理念与表达方式、版画的色彩与技艺等方面进行比较。他们既有相近的地方,又有各自的重点与创新,他们各有不同的立意、不同的设计方法与艺术构思,从最初的摸索到后来的借鉴与发展,套印版画越来越走向成熟。清代以后,由于各种画谱的版本越来越多,越来越失去初版的原貌,本文最后着重比较初版的原貌与后来版本的差异流变。
[Abstract]:In the late Ming and early Qing dynasties, the Sanshan Street area of Nanjing was a gathering place for publishing. Here came Hu Zhengyan, the calligraphy and painting Spectrum of the Ten Bamboo Zhai, the Shizhu Zhai Notes, Wu Fa-xiang, the Ancient Notes of Luo Xuan, and Minqi O, the six Fantasy Pictures. Li Yu, "Biography of Mustard Garden paintings", represents the highest level of Chinese woodblock printing. In the same area and at the same time, these printmakers have direct or indirect relationships through contacts. On the basis of textual research on their lives and friends, this paper mainly through comparative analysis to study the relationship between these paintings, and the purport of each kind of painting. The subject matter and source of the painting spectrum, the design idea and the expression way, the color and the skill of the printmaking are compared. They have the similar place, also have their own emphasis and innovation, they have different ideas. Different design methods and artistic ideas, from the initial exploration to the later reference and development, set printing more and more mature. After the Qing Dynasty, due to the various versions of more and more paintings. With the loss of the original appearance of the first edition, this paper focuses on the difference between the original appearance of the first edition and the later version.
【学位授予单位】：南京艺术学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J217
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本文编号：1369082