《梅花喜神谱》题跋研究  

An Analysis of the Postscript of Plum blossom and Lucky Gold Portraits Collecting

作　　者：张卿[1] 吕三川[2] 

机构地区：[1]福建师范大学艺术学院,福建福州350007 [2]泉州师范学院美术与设计学院,福建泉州362000

出　　处：《泉州师范学院学报》2012年第3期102-104,共3页Journal of Quanzhou Normal University

摘　　要：《梅花喜神谱》可以称为中国最早的木刻图籍,当然也是中国第一部专门描绘梅花不同姿态的木刻画谱。因宋时俗称画像为喜神,故名《梅花喜神谱》,在文人画家中广泛流传,清代文人黄丕烈《梅花喜神谱》题跋可以视为对画论文本内容的修正、补充及考释,具有一定研究价值。Plum blossom and Lucky Gold is regarded as the earliest wood engraving portraits collecting in China which without doubt constitutes Chinese first specialized wood engraving portraits collecting that describes various kinds of plum blossom. As portraits were popularly known as the Lucky gold in Song Dynasty,therefore comes into its being the name of Plum blossom and Lucky Gold which merits vast circulation among men of literatures as well as artists. The postscript of Plum blossom and Lucky Gold portraits collecting by Writer Huang Pi-lie of Qing Dynasty can be regarded as rectifying, replenishing and interpreting the its text,which is of certain research value.

关 键 词：题跋 《梅花喜神谱》 黄丕烈 

分 类 号：J05[艺术—艺术理论]