從《點石齋叢畫》看日本浮世繪對晚清畫壇的影響
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2008
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海上畫派為晚清上海畫壇崛起的一群具有創新畫風的畫家的統稱，為清前期的形式主義畫風帶來巨大的變革，其嶄新的構圖形式與前所未見的繪畫題材，除了畫家本身的創造力，也融合了外來繪畫優點而成。本論文從《點石齋叢畫》收錄的日本風格繪畫做為研究的起點，探討輯錄日本風格繪畫的原因並找尋其來源，發現這些作品事實上是從葛飾北齋《唐詩選畫本》、谷文晁《日本名山圖會》、大原東野編《名數畫譜》等日本版畫而來，而中日兩國自古以來的文化交流在這之中占有相當重要的因素。因此本文以近代中國繪畫受日本影響較大的山水畫及人物畫為研究重點，試圖從中日文化的交流脈絡和社會背景、風格分析等方法來看晚清繪畫的發展與日本繪畫的關係。作為海派代表人物的「四任」及《點石齋畫報》主筆吳友如，他們吸收外來繪畫的優點而卓有成就，與日本浮世繪巧妙的相合之處，在文中也特別提出來討論。同時，晚清由於石印技術的傳入，其方便、快速的優點，在中國印刷史上寫下新的一頁，然中國傳統的水印木刻仍有現代技術所無法取代的優點，故本研究在結論部分也對中國傳統水印木刻至現代鉛印技術的發展演變作概念性的論述，並輔以第一手出版資料，提供版畫愛好者在研究上的一個參考。
The “Shanghai School” is a new group of new-styled painters in late Ching Shanghai. It brings tremendous transfer revolutionary to Formalism in early Ching Dynasty. It is formed by brand-new composition, themes which have never seen before, painters’ creation and foreign painting skills. The article takes Japanese styled paintings in “Dian-shih-chai-tsung-hua” as the begging, finding the reason of forming Japanese styled painting and researching its origins. In fact, I find that those works come from many Japanese paintings. The cultural interaction between China and Japan has played an important role since long time ago. Therefore, the article takes landscape painting and figure painting, on which Japan has greater effect, in modern Chinese paintings. I manage to analyze the relationship between the development of late Ching paintings and Japanese paintings through ways of the intercourse between Chinese and Japanese culture, their social background, style and etc.. As the leader of the “Shanghai School”, “Four Jen” and, Wu You-Ju, who is the chief editor of “the pictorial magazine of Dian-shih Cottage”, take advantages from foreign paintings. Their paintings with Ukiyo-e are another points in this graduate thesis. Meanwhile, due to the spreading of lithographic prints in late Ching, it turns the history of Chinese engraving into a new leaf. Chinese traditional woodcut has some advantages which can’t be replaced by modern techniques, so the graduate thesis states the general development from Chinese woodcut to modern letterpress painting at the conclusion. It offers engraving lovers reference materials with first published information.
The “Shanghai School” is a new group of new-styled painters in late Ching Shanghai. It brings tremendous transfer revolutionary to Formalism in early Ching Dynasty. It is formed by brand-new composition, themes which have never seen before, painters’ creation and foreign painting skills. The article takes Japanese styled paintings in “Dian-shih-chai-tsung-hua” as the begging, finding the reason of forming Japanese styled painting and researching its origins. In fact, I find that those works come from many Japanese paintings. The cultural interaction between China and Japan has played an important role since long time ago. Therefore, the article takes landscape painting and figure painting, on which Japan has greater effect, in modern Chinese paintings. I manage to analyze the relationship between the development of late Ching paintings and Japanese paintings through ways of the intercourse between Chinese and Japanese culture, their social background, style and etc.. As the leader of the “Shanghai School”, “Four Jen” and, Wu You-Ju, who is the chief editor of “the pictorial magazine of Dian-shih Cottage”, take advantages from foreign paintings. Their paintings with Ukiyo-e are another points in this graduate thesis. Meanwhile, due to the spreading of lithographic prints in late Ching, it turns the history of Chinese engraving into a new leaf. Chinese traditional woodcut has some advantages which can’t be replaced by modern techniques, so the graduate thesis states the general development from Chinese woodcut to modern letterpress painting at the conclusion. It offers engraving lovers reference materials with first published information.
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點石齋叢畫, 點石齋畫報, 晚清繪畫, 海上畫派, 版畫, 浮世繪, Dian-shih-chai-tsung-hua, the pictorial magazine of Dian-shih Cottage, the Shanghai School, late ching paintings, printmaking, Ukiyo-e