摘要
康熙中期以后,姑苏版画融入“泰西法”,创造出崭新面貌的“姑苏版”。大多收藏于海外的事实,印证了“姑苏版”是海外定制的产物。但“姑苏版”终因中外交流的中断而失去市场,同时随着“泰西法”的逐渐消失,“姑苏版”走向消亡。因此,没有“泰西法”就没有“姑苏版”,“泰西法”是“姑苏版”产生和消亡的重大推动因素。
After the middle period of Kangxi Period, "western xylography" was integrated into Suzhou woodcut prints, and created a new "Suzhou Woodcut." The fact that most of them were collected overseas has confirmed that the "Suzhou Woodcut" was a product of overseas customization. However, it eventually lost its market due to the interruption of Sino-foreign exchanges. At the same time, with the gradual disappearance of the “western xylography,” the "Suzhou Woodcut" had been dying out. Therefore, there was no "Suzhou Woodcut" without “western xylography,” and the latter was a major driving factor for the emergence and demise of the former.
出处
《南京艺术学院学报（美术与设计）》
CSSCI
北大核心
2022年第1期47-52,I0011,共7页
Journal of Nanjing Arts Institute:Fine Arts & Design
基金
2018年度江苏省社会科学基金项目《桃花坞木刻年画文创产品开发与传播研究》(18YSB006)阶段性成果。
关键词
泰西法
姑苏版
原因
述论
Western Skills
Suchow Style Xylography
Reason
Explication
