四时同屏:欧洲藏清代苏州版画屏风的文化图式  

Four Seasons on the Same Screen:Cultural Schema about Suzhou Prints Folding Screen Collected in Europe

作　　者：高登科 Gao Dengke(the Tsinghua University Art Museum)

机构地区：[1]清华大学艺术博物馆

出　　处：《美术》2023年第5期110-121,共12页Art Magazine

摘　　要：清康熙至乾隆年间,苏州版画发展到了前所未有的高度。这一时期的苏州版画,成为东西方文化交汇的视觉呈现,在深厚的中国传统文化底蕴基础上,又吸收了西洋绘画、铜版画的影响,以独特的木刻版画风貌,对日本浮世绘、欧洲“中国风”艺术产生了直接的影响。学界把17世纪至18世纪的苏州版画称为“姑苏版”,以区别于后来的“桃花坞木版年画”。这一时期的苏州版画不是只有年节使用,而是渗透到生活的方方面面。本文从目前发现仅有的两件欧洲藏清代苏州版画四条屏实物切入,以欧洲绘画中的中国屏风图像为参考,考证屏风图像的文化图式与“四时同屏”的文化观念。Prints in Suzhou reached its zenith during the reign from the Kangxi Emperor to the Qianlong Emperor of the Qing Dynasty.During this period,Suzhou prints visually demonstrated the integration of eastern and western cultures and were influenced by paintings and copper prints in the west.Under such a circumstance,unique,traditional Chinese culture-based Suzhou woodcuts directly impacted the Ukiyoe in Japan and the “Chinese style” in Europe.To be distinguished from the later “Taohuawu New Year Woodcuts”,prints created in Suzhou from the 17th to the 18th Century are referred to as “Gusu Prints”by scholars.Suzhou prints of this period were not only used for festivals,but permeated all aspects of life.Based on the only two four-screen Suzhou prints created during the Qing Dynasty and collected in Europe,this paper analyzes Chinese screen paintings that appear in European paintings,to examine cultural forms of screen Paintings and the cultural concept of “four seasons on one screen print”.

关 键 词：屏风画 外销画 姑苏版画 四时 文化图式 

分 类 号：J217[艺术—美术] K249[历史地理—历史学]