贸易、跨文化交流与趣味再造:宫内厅藏《万国绘图屏风》男女对偶图像研究  

Trade,Transcultural Communication and Recreation of Taste:Research on the Images of Couples from Countries in The Bankoku Painting Screen of Tokyo Imperial Household Agency

作　　者：李晓璐 Li Xiaolu

机构地区：[1]中央美术学院人文学院

出　　处：《艺术设计研究》2020年第6期87-99,共13页Art & Design Research

摘　　要：宫内厅藏《万国绘图屏风》是日本南蛮地图屏风的代表作,也是大航海时代浪潮中,西方世界首次与日本对话的最佳例证。作为西方人发现和认知世界的生动注脚,男女对偶式的人物图像在被日本绘制者借用之时,并非刻板地复制,而是融合借鉴了众多西方图像知识,加之日本本土图像认知的趣味再造。本文将对宫内厅本中一直以来被忽视的人物图像部分进行解读,追溯其来源及所指,并在图像追溯的过程中,揭开图像本身在贸易、跨文化交流过程中所扮演的角色,以及贸易和跨文化交流活动对日本绘制者在借鉴、改造和更新欧洲图像时所产生的影响。The Bankoku Painting Screen,which housed in the Tokyo Imperial Household Agency,is the representative work in the Nanban Art of Japan and an optimum example showed the first meeting between western world and Japan during the age of exploration.Images of Couples from Countries,as the vivid footnotes of westerners'discovery and cognition of the world,when borrowed by Japanese painters are not rigidly copied,but the taste recreation that combined with many western image knowledge and Japanese local image cognition.This paper is focusing on the Images of Couples from Countries which has been neglected,and traces its origin and reference,then reveals the role of the image itself in the process of trade,transcultural communication.At the same time,analysis the influence of trade and transcultural exchange activities on Japanese painters in learning,transforming and updating European images.

关 键 词：大航海时代 南蛮屏风 男女对偶图像 趣味再造 贸易 跨文化交流 

分 类 号：J05[艺术—艺术理论]