梁楷《耕织图》存世和“减笔画”特征及对日本“四季耕作图”的影响  

The preservation of"Painting on Farming and Weaving"by Liang Kai,the features of"abbreviated paintings"and their impact on"pictures of farming in four seasons"in Japan

作　　者：陶红[1] 朱航 TAO Hong;ZHU Hang(College of Journalism and Communication,Southwest University,Chongqing 400715,China)

机构地区：[1]西南大学新闻传媒学院,重庆400715

出　　处：《丝绸》2020年第12期105-113,共9页Journal of Silk

基　　金：国家社科基金规划项目(16BXW0641);中央高校基金团队研究项目(SWU1909211)。

摘　　要：文章梳理了画家梁楷绘制的《耕织图》分别存于美国和日本的证据,认为梁楷《耕织图》与楼璹版《耕织图》有很大差异,表现为省略耕织活动环节,仅挑选部分场景组合成图卷,较多地表现耕织活动与环境细节,图绘中人物形象体现了梁楷的“减笔画”艺术特征。梁楷《耕织图》于室町幕府时期东传日本,受到狩野画派追捧,形成风行一时的“梁楷样”,成为屏风绘、隔扇绘的“粉本”,并逐渐形成效仿中国《耕织图》的日本“四季耕作图”,流行时间约400多年。This article sorts out the evidence that"Painting on Farming and Weaving"drawn by Liang Kai is preserved in the United States and Japan,believing that its composition is quite different from the"Painting on Farming and Weaving"by Lou Shu.For example,the link of farming and weaving activities is omitted,only some scenes are selected to form a scroll,and more details of farming and weaving activities and the environment are presented.The characters in the painting reflect Liang Kai’s artistic features of"abbreviated paintings"."Painting on Farming and Weaving"by Liang Kai was spread to Japan during the Muromachi Shogunate period,sought after by the Kano Painting School,and became the prevailing"Liang Kai Style".It has become the"chalk powder draft"of folding screen paintings and partition board paintings,and gradually formed the"pictures of farming in four seasons"of Japan that imitated"Painting on Farming and Weaving"from China,and the popularity lasted for about four hundred years.

关 键 词：梁楷《耕织图》 存世 “减笔画”特征 “四季耕作图” 显与隐的影响 

分 类 号：TS941.75[轻工技术与工程—服装设计与工程] K879.49[历史地理—考古学及博物馆学]