中國明清木刻畫與日本浮世繪版畫對比研究
發(fā)布時間：2018-08-06 16:17
【摘要】：16、17世紀(jì)是個神奇而輝煌的年月。歐洲爆發(fā)文藝復(fù)興結(jié)束漫長的中世紀(jì)。而在世界的另一端——東北亞,無論是中國,還是日本社會商品經(jīng)濟(jì)都高度發(fā)展,世俗文化異軍突起。在這樣的背景下,兩國的民族美術(shù)之樹上都開出了兩朵為裝點(diǎn)平民生活而生的嬌艷之花。它們珠璧交輝,又有著千絲萬縷的聯(lián)系。這兩朵藝術(shù)之花分別是明清木刻畫和日本浮世繪。毋庸置疑,浮世繪是在明清木刻的滋養(yǎng)下成長起來的。同樣毋庸置疑的還有浮世繪在20世紀(jì)之后于世界美術(shù)的影響力又絕非其外來母體——明清木刻畫所能比擬的。通過比較研究,這兩種形態(tài)的美術(shù)實(shí)在太過相似。同是由出版商集結(jié)畫家、刻工、拓印工協(xié)作完成可以流通盈利的商品工藝美術(shù)。兩者身上的平民屬性,抑或說民間性和草根新性也是有目共睹的。由于這樣的集結(jié)和銷售,在兩國都形成了一些著名的印制中心。我國主要集中在安徽江浙,而日本主要集中在江戶城。兩者的制作技法也較為相似,都多為水印木刻。只是在形式上,浮世繪比之明清木刻畫突破了冊裝書插圖樣式,開發(fā)了更具有獨(dú)立欣賞價值的獨(dú)幅版畫。題材內(nèi)容的發(fā)展軌跡也是重合的。都是以人物畫的成熟達(dá)到藝術(shù)形態(tài)的頂峰期,在衰退期又都以風(fēng)景花鳥畫作為結(jié)束。在這方面他們最大的不同是明清木刻的人物畫以人物所處的環(huán)境和情節(jié)為重點(diǎn),而浮世繪以描繪人物本身為重點(diǎn)。明清木刻色調(diào)雅,格調(diào)質(zhì)樸。浮世繪設(shè)色濃烈卻暗含欲說還休的禪意。兩種藝術(shù)形態(tài)都是極有生命力的。只不過浮世繪所具有的生命力呈無限上升的動態(tài),對限制的突破使這生命力的力量異常強(qiáng)烈。與之相對應(yīng)的,明清木刻畫所呈現(xiàn)的是一種穩(wěn)定祥和、從容淡定,對一切充滿贊美的生命氣質(zhì)。浮世繪在20世紀(jì)取得的巨大成功。除了自身因素決定外,很大的關(guān)鍵在于日本人的多元文化價值觀。要讓明清木刻畫在當(dāng)下復(fù)興,研究對比浮世繪這兩世紀(jì)以來的活躍軌跡非常必要。
[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.
【學(xué)位授予單位】：西南民族大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J217
本文編號：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.
【學(xué)位授予單位】：西南民族大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J217
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，本文編號：2168271
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