清宫到江户:18世纪后半叶的中日美人图--从图中身高比例之变管窥中国美术对浮世绘的影响  

From the Qing Court to Edo:The Chinese and Japanese Beauty Figures in the Second Half of the 18th Century:A View of the Influence of Chinese Art on Ukiyoe from the Change of Height Ratios in Figures

作　　者：黄帆 刘赦[1] HUANG-Fan;LIU-She(School of Fine Arts,Nanjing Normal University,Nanjing 210023,Jiangsu)

机构地区：[1]南京师范大学美术学院,江苏南京210023

出　　处：《厦门大学学报（哲学社会科学版）》2022年第4期153-160,共8页Journal of Xiamen University(A Bimonthly for Studies in Arts & Social Sciences)

摘　　要：18世纪下半叶的浮世绘美人图中曾短暂出现过一种身高比例奇崛的人物形象,它的灵感源自中国的姑苏版画,而姑苏版画中这类特殊的身高比例则又源于清初的宫廷美术。清初对日的单向海运使得姑苏版画中的这一特质传向锁国中的日本,而这类图像却又在中国国内的严苛禁教中,被从源头上加以限制。加之浮世绘市场的激烈竞争,以“清长美人”为代表的奇崛的身高比例未几就从美人图中消散不见。这一中日美术交流史上的具体案例,也显示出清代宫廷美术在彼时东方艺术中的重要地位。Ukiyoe beauty paintings in the second half of the 18 th century showed an obvious change in the heights of characters.This change stemmed from the ideal images of Chinese beauties in Gusu prints at that time,while the special height ratio in Gusu prints originated from court art in the early Qing Dynasty.The innovative consciousness of the booksellers and painters constantly promoted the advancement of Ukiyoe,and Torii Kiyomizu’s innovation of character heights during this period took place within this context.However,this height change returned to normal after a short time,largely because of the decade-long broad prohibition of religion in Yongzheng.This specific case also shows the important position of the court art in Oing Dynasty at that time.

关 键 词：宫廷绘画 姑苏版画 浮世绘 身高比例 禁教 

分 类 号：J209[艺术—美术]