本文關鍵詞：明末清初南京套印版畫研究　出處：《南京藝術學院》2016年博士論文　論文類型：學位論文

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【摘要】：明末清初,南京三山街一帶是出版的集聚地,在這里涌現(xiàn)出胡正言《十竹齋書畫譜》、《十竹齋箋譜》、吳發(fā)祥《蘿軒變古箋譜》、閔齊O《會真六幻圖》、李漁《芥子園畫傳》,它們代表了中國木版彩色套印版畫的最高水平,在同一個地域、同一個時間段,這些版畫家之間通過交游,有直接或間接的關系,這些畫譜之間也有先后的影響與借鑒。本論文在考證他們生平交游的基礎上,主要通過比較分析來研究這些畫譜之間的關系。每種畫譜的旨趣定位、畫譜的題材和來源、設計理念與表達方式、版畫的色彩與技藝等方面進行比較。他們既有相近的地方,又有各自的重點與創(chuàng)新,他們各有不同的立意、不同的設計方法與藝術構思,從最初的摸索到后來的借鑒與發(fā)展,套印版畫越來越走向成熟。清代以后,由于各種畫譜的版本越來越多,越來越失去初版的原貌,本文最后著重比較初版的原貌與后來版本的差異流變。
[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.
【學位授予單位】：南京藝術學院
【學位級別】：博士
【學位授予年份】：2016
【分類號】：J217
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本文編號：1369082