论16-18世纪日本西洋画风的社会文化背景  

An Analysis of the Social and Cultural Backgrounds of the Western Style in 16^(th)-18^(th)Century Japanese Paintings

作　　者：窦志强[1] 徐振杰[1] 

机构地区：[1]山东大学历史文化学院,山东济南250100

出　　处：《山东大学学报（哲学社会科学版）》2006年第1期85-91,共7页Journal of Shandong University(Philosophy and Social Sciences)

摘　　要：主要以耶稣会向东方传教为契机,西方绘画开始传入中日两国。东西方文明及其绘画的交汇,在中国和日本体现出许多共同的特点。但除了外部因素之外,主要由于中日不同的历史和文化传统的背景,中日两国社会文化和绘画界也产生了不同的反应,形成有趣的对比。面对西方文化,日本不同的社会阶层都表现出与中国不同的倾向,民众的思想和生活境况使他们倾向天主教,促成了天主教美术的兴盛；作为武家政权的中央政府能够折衷性地学习西方文化中于已有用的成分,促进了兰学的发展和绘画中科学的因素的运用；而以中间阶层为代表的武家文化的现实主义、功利主义倾向使得各种画派可以吸收西方近代绘画的写实主义因素。In 16-18 centuries western paintings were introduced into China and Japan, mainly via missionaries. The merge of between western and eastern civilizations, and that of different styles of paintings, have many features in common between China and Japan. However, in addition to external factors, mainly because of different historical and cultural traditions in China and japan, the reaction of Japanese artists to western paintings differed from that of Chinese artists, and they form an interestingly sharp contrast. Members of different social strata in Japan responded to western cultures in ways different from those of Chinese people. The living conditions and mentality of ordinary people predisposed them towards Roman Catholic Church, which resulted in the popularity of religious paintings. As a warriors＂ regime, the central government eclectically made use of western culture, promoted the development of Rangaku and the use of scientific technique in painting. And the realism in the traditional warrior culture of Japan facilitated the absorbing of realistic elements in western painting.

关 键 词：16-18世纪 日本西洋画风 兰学 武家文化 

分 类 号：J209.313[艺术—美术]