中国明清木刻画与日本浮世绘版画对比研究
发布时间：2018-08-06 16:17
【摘要】：16、17世纪是个神奇而辉煌的年月。欧洲爆发文艺复兴结束漫长的中世纪。而在世界的另一端——东北亚,无论是中国,还是日本社会商品经济都高度发展,世俗文化异军突起。在这样的背景下,两国的民族美术之树上都开出了两朵为装点平民生活而生的娇艳之花。它们珠璧交辉,又有着千丝万缕的联系。这两朵艺术之花分别是明清木刻画和日本浮世绘。毋庸置疑,浮世绘是在明清木刻的滋养下成长起来的。同样毋庸置疑的还有浮世绘在20世纪之后于世界美术的影响力又绝非其外来母体——明清木刻画所能比拟的。通过比较研究,这两种形态的美术实在太过相似。同是由出版商集结画家、刻工、拓印工协作完成可以流通盈利的商品工艺美术。两者身上的平民属性,抑或说民间性和草根新性也是有目共睹的。由于这样的集结和销售,在两国都形成了一些著名的印制中心。我国主要集中在安徽江浙,而日本主要集中在江户城。两者的制作技法也较为相似,都多为水印木刻。只是在形式上,浮世绘比之明清木刻画突破了册装书插图样式,开发了更具有独立欣赏价值的独幅版画。题材内容的发展轨迹也是重合的。都是以人物画的成熟达到艺术形态的顶峰期,在衰退期又都以风景花鸟画作为结束。在这方面他们最大的不同是明清木刻的人物画以人物所处的环境和情节为重点,而浮世绘以描绘人物本身为重点。明清木刻色调雅,格调质朴。浮世绘设色浓烈却暗含欲说还休的禅意。两种艺术形态都是极有生命力的。只不过浮世绘所具有的生命力呈无限上升的动态,对限制的突破使这生命力的力量异常强烈。与之相对应的,明清木刻画所呈现的是一种稳定祥和、从容淡定,对一切充满赞美的生命气质。浮世绘在20世纪取得的巨大成功。除了自身因素决定外,很大的关键在于日本人的多元文化价值观。要让明清木刻画在当下复兴,研究对比浮世绘这两世纪以来的活跃轨迹非常必要。
[Abstract]:The 17th century was a marvelous and glorious year. The European Renaissance ended the long Middle Ages. In the other end of the world-Northeast Asia, both China and Japan social commodity economy are highly developed, secular culture suddenly emerged. In this context, the two national art tree opened out two beautiful flowers for the decoration of civilian life. They are perfect, but also inextricably linked. The two flowers of art are the Ming and Qing Dynasty woodcut paintings and the Japanese Archaeozoic paintings respectively. There is no doubt that the Archaean painting grew up under the nourishment of the Ming and Qing Dynasty wood carvings. It is also beyond doubt that the influence of the Archaeological painting in the world after the 20th century is not comparable to the wood carvings of the Ming and Qing dynasties. Through comparative study, these two forms of fine arts are too similar. It is the combination of publishers, painters, engravers, printers to complete the circulation of commodity arts and crafts. The civilian nature of both, or the folklore and grass roots of the new nature is also obvious to all. As a result of this concentration and sales, some famous printing centers have been formed in both countries. China is mainly concentrated in Jiangsu and Zhejiang provinces in Anhui, while Japan is mainly concentrated in Jiangdu City. Both of the production techniques are more similar, more for the watermark woodcut. Only in form, the Ucio painting than Ming and Qing Dynasty wood carvings broke through the book illustration style, developed a more independent appreciation of the value of a single print. The development track of the subject matter content is also coincidence. Both of them reached the peak of artistic form with the maturity of figure painting, and ended with landscape flower and bird painting in the declining period. In this respect, their biggest difference is the Ming and Qing Dynasty woodcut figure painting focus on the environment and plot of the characters, while the focus of the life painting is to describe the characters themselves. Ming and Qing Dynasty wood carving tone elegant, simple style. The Archaean painting is full of colors, but implies the Zen meaning of saying that there is still Hugh. Both forms of art have great vitality. However, the vitality of the Eocene is infinitely rising, and the breakthrough of the limit makes the force of the vitality extremely strong. Correspondingly, the woodcut paintings of Ming and Qing dynasties presented a stable and peaceful, calm and praiseworthy temperament of life. The great success of the Archaean in the 20 th century. Apart from its own factors, the key lies in the multicultural values of the Japanese. In order to revive the woodcut paintings in Ming and Qing dynasties, it is necessary to study and contrast the active tracks of the two centuries.
【学位授予单位】：西南民族大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J217
本文编号：2168271
[Abstract]:The 17th century was a marvelous and glorious year. The European Renaissance ended the long Middle Ages. In the other end of the world-Northeast Asia, both China and Japan social commodity economy are highly developed, secular culture suddenly emerged. In this context, the two national art tree opened out two beautiful flowers for the decoration of civilian life. They are perfect, but also inextricably linked. The two flowers of art are the Ming and Qing Dynasty woodcut paintings and the Japanese Archaeozoic paintings respectively. There is no doubt that the Archaean painting grew up under the nourishment of the Ming and Qing Dynasty wood carvings. It is also beyond doubt that the influence of the Archaeological painting in the world after the 20th century is not comparable to the wood carvings of the Ming and Qing dynasties. Through comparative study, these two forms of fine arts are too similar. It is the combination of publishers, painters, engravers, printers to complete the circulation of commodity arts and crafts. The civilian nature of both, or the folklore and grass roots of the new nature is also obvious to all. As a result of this concentration and sales, some famous printing centers have been formed in both countries. China is mainly concentrated in Jiangsu and Zhejiang provinces in Anhui, while Japan is mainly concentrated in Jiangdu City. Both of the production techniques are more similar, more for the watermark woodcut. Only in form, the Ucio painting than Ming and Qing Dynasty wood carvings broke through the book illustration style, developed a more independent appreciation of the value of a single print. The development track of the subject matter content is also coincidence. Both of them reached the peak of artistic form with the maturity of figure painting, and ended with landscape flower and bird painting in the declining period. In this respect, their biggest difference is the Ming and Qing Dynasty woodcut figure painting focus on the environment and plot of the characters, while the focus of the life painting is to describe the characters themselves. Ming and Qing Dynasty wood carving tone elegant, simple style. The Archaean painting is full of colors, but implies the Zen meaning of saying that there is still Hugh. Both forms of art have great vitality. However, the vitality of the Eocene is infinitely rising, and the breakthrough of the limit makes the force of the vitality extremely strong. Correspondingly, the woodcut paintings of Ming and Qing dynasties presented a stable and peaceful, calm and praiseworthy temperament of life. The great success of the Archaean in the 20 th century. Apart from its own factors, the key lies in the multicultural values of the Japanese. In order to revive the woodcut paintings in Ming and Qing dynasties, it is necessary to study and contrast the active tracks of the two centuries.
【学位授予单位】：西南民族大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J217
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