徽州版画的艺术形式及传承发展研究  

On the Art form,Inheritance and Development of Huizhou Printmaking

作　　者：胡亚文 卓玲[1] Hu Yawen;Zhuo Ling(Anhui Sanlian University,Hefei 230000,China)

机构地区：[1]安徽三联学院,安徽合肥230000

出　　处：《黑河学院学报》2025年第1期144-147,共4页Journal of Heihe University

基　　金：2023年度安徽省高校哲学社会科学研究项目“徽州版画的视觉语言在文创产品设计中的发展模式研究”(2023AH051690)。

摘　　要：徽州版画是我国古老而悠久的版画艺术中不得不提的重要组成部分,其凭借着独特的艺术形式和精美的刻工在我国木刻版画历史中占据着重要地位。古徽州地区独特的地理、人文,以及经济环境等因素铸就了徽州版画不拘一格的个性,为后世留下了许多令人称颂的佳作。虽然徽州版画在我国传统艺术史上有着重要的地位,但其知名度却明显小于徽派建筑艺术和徽州三雕艺术。以徽州版画为研究对象,以其兴起的原因和发展历史为切入点,进而探讨徽州版画的艺术形式,并为徽州版画的传承发展建言献策。Huizhou printmaking is an important part of our country’ancient printmaking art,and occupies a very important position by virtue of its unique artistic form and exquisite engraving in the history of woodcut engraving.The eclectic personality of Huizhou printmaking gets forged by the unique geography,culture and economic environment of ancient Huizhou,which left many admirable works for later generations.Although Huizhou printmaking plays an important role in the history of Chinese traditional art,it is obviously less well-known than Huizhou architecture art and Huizhou three-sculpture art.To this end,this article analyzes reasons for the rise and the brief development history regarding Huizhou printmaking,as well as its art form,and puts forward some constructive measures on the heritage and development of Huizhou printmaking.

关 键 词：徽州版画 木刻版画 版画艺术形式 传承发展 

分 类 号：J045[艺术—艺术理论]