水浒人物图像造型中日审美比较——以陈洪绶与歌川国芳为例  

Comparison of Chinese and Japanese Aesthetics in the Image Modeling of Shuihu Characters:Taking Chen Hongshou and Utagawa Kuniyoshi as an

作　　者：刘盈 王平[1] LIU Ying;WANG Ping(Hunan Institute of Science and Technology,Yueyang,Hunan,414000)

机构地区：[1]湖南理工学院,湖南岳阳414000

出　　处：《湖南包装》2024年第5期49-52,共4页

基　　金：教育部人文社会科学规划项目(20YJAZH100);湖南省哲学社会科学基金项目(21YBA159);湖南省研究生科研创新项目(CX20231235)。

摘　　要：水浒人物图像在中日广泛流传,版本众多,尤以陈洪绶的版画《水浒叶子》和江户时期歌川国芳的浮世绘《通俗水浒传豪杰百八人》最有代表性。通过对陈洪绶与歌川国芳水浒人物图像造型手法、意境表现的审美对比,探究两者之间审美取向的同一性与差异性以及内在文化渊源,剖析中国四大名著之一《水浒传》在日本传播过程中所表现出来的不同受容方式,了解中日文化之间的相互影响和交流及中国传统文化对日本文化艺术的影响。The images of water margin characters are widely circulated in China and Japan,and there are many versions,especially Chen Hongshou's engravings"Water Margin Leaves"and Utagawa Kuniyoshi's Ukiyo-e"Popular Water Margin Heroes Hundred and Eight"in the Edo period.Through the aesthetic comparison of the image styling techniques and artistic expression of the Shuihu characters of Chen Hongshou and Utagawa Kuniyoshi,this paper explores the identity and difference of aesthetic orientation between them as well as the internal cultural origin,and analyzes the different ways of acceptance of the Water Margin,one of China's four great masterpieces,in the process of spreading in Japan.To understand the mutual influence and exchange between Chinese and Japanese cultures and the influence of Chinese traditional culture on Japanese culture and art.

关 键 词：水浒人物 图像造型手法 意境表现 陈洪绶 歌川国芳 

分 类 号：J217[艺术—美术]