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浮世绘(Ukiyo-e)是一种始兴于日本江户时代(1603-1867年)的绘画形式，在世界艺术史上意义非凡。浮世，原本来源于佛家用语，指与极乐净土相对应的人世间——众生在其中挣扎求生的浮华不真的世界。引申至日语中，浮生的深层含义是指人如船儿随风漂浮于世；但人们多用它的表面义——放纵自己的欲望去享乐的世界，不计前世与来生。所以浮世绘内容多是色彩艳丽的反映下层人们声色犬马的世俗生活画面。
佛家曰：“浮世尘缘，一生一灭，拈花一笑。一花一世界，一叶一菩提，一瞬便是永远。”凝望一幅幅浮世绘，你是否会悟到这“一瞬便是永远”呢？
The Japanese 1)woodblock print: an art form whose impact was as revolutionary in Japan as 2)Gutenberg’s printed books were in the West, and an art form that had tremendous impact on modern Western 3)Impressionism. While the paintings of the Impressionists Monet, Van Gogh, Degas are 4)glittering treasures of Western culture, their inspiration wasn’t Western at all. The real source of their new vision was not in France, not even in Europe, but in a country on the other side of the world, in Japan.
By the mid-nineteenth century, after a long period of isolation, Japan was once again trading with the world. In the 5)bustling capital city of Edo, later to be known as Tokyo, artists and artisans were busy creating items for trade. In Edo most woodblock prints were things to be admired and then thrown away, like comic books or newspapers today. And so, 6)discarded prints were sometimes used to pack 7)ceramics for export to America and Europe. This is how Japanese woodblock prints first found their way into the oriental 8)curiosity shops of London and Paris.
In the mid-eighteen hundreds Western art was in a crisis. The realistic school of painting in Europe had reached sort of a dead end. The 9)newfangled technology of the photograph produced a picture far more realistic than any artist could ever hope to paint. And so, in search of inspiration for a new direction in their art, painters would gather to 10)marvel at, and collect, the latest Japanese imports.
The Japanese woodblock print offered a 11)strikingly different model for what art could be. Not photographic, but stylized and impressionistic. They emphasized the surface pattern of the print rather than try to create the illusion of space beyond the flat surface of the canvas. In Europe these prints helped bring about a revolution in art. We need to investigate what was behind the creation of these prints.
“e” means picture, and “Ukiyo” floating world. What was this “floating world?”
It was a place that looked a bit like this, Gion, the geisha quarter of Kyoto. In Edo, the 12)geisha and lower class 13)courtesans could be found only in the 14)Yoshiwara also called Ukiyo, the floating world. One 15)samurai described his experiences in the floating world thus:
Living only for the moment,
gazing at the moon, the snow,
the cherry blossoms and the maple leaves,
singing songs, drinking wine,
16)diverting ourselves and just floating,
floating.
Caring not a 17)fig,
for the problems staring us in the face,
and floating like a 18)gourd in the river current.
That is what we call the floating world.
日本的版画（浮世绘），不仅在日本产生不亚于古腾堡的便携式书籍之于西方的革命性影响，还大大影响了现代的西方印象派。尽管印象派大师莫奈、梵高、德加的作品成为了西方艺术殿堂里闪闪生辉的宝物，他们的创作灵感却完全不是源于西方。他们新视觉的真正源头不在法国，甚至也不在欧洲，而是来自地球的另一端的日本。
经历了一段长时间的与世隔绝后，日本在19世纪中叶重新与世界建立起贸易联系。在繁嚣的首府江户（即后来的东京），艺术家和工匠们都在忙于创作作品以进行贸易。这里大部分的版画就像今天的漫画书或者报纸一样，先是受到人们的青睐，随后就遭丢弃。而被丢弃的作品有时会用来包裹陶瓷制品，然后出口到美洲和欧洲。日本的版画最初就是通过这种方式走进伦敦和巴黎的东方古董店的。
18世纪中叶，西方艺术界正经历一场危机。欧洲现实主义绘画流派有点走进了死胡同。新流行起来的摄影技术拍出的照片，真实感远超任何一位画家所期望绘画能达到的程度。因此，为了找寻新的艺术方向的灵感，画家们把注意力放在令他们惊艳的新近从日本进口的物品中，并开始收集这些东西。
日本的版画是一种与众不同的、让人印象深刻的艺术形式。它不像照片般写实，而是有固定格式并基于印象的。画家们着重强调的是作品的表面图像，而不是试图在平白的帆布上创造出空间的幻觉。在欧洲，这些版画掀起了一场艺术革命。那么它们究竟是基于什么来创作的呢？
“e”代表绘，“Ukiyo”是指浮世。那什么是浮世呢？
（现在的）新桥，这个京都艺伎聚居的地方就有点像浮世。（当时）在江户，艺伎和下层的妓女只居住在吉原，也称为浮世的这个地方。曾经有一个武士这样描述他所体验的浮世：
生命只是活在当下，
凝望着月亮、白雪、
樱花、枫叶，
唱着歌，喝着酒，
放纵着自我，任意漂浮，
漂浮。
了无牵挂，
烦恼纵在面前闪现，
就如流水中的瓢一样漂浮。
这就是浮世。
翻译：谢尔逊
佛家曰：“浮世尘缘，一生一灭，拈花一笑。一花一世界，一叶一菩提，一瞬便是永远。”凝望一幅幅浮世绘，你是否会悟到这“一瞬便是永远”呢？
The Japanese 1)woodblock print: an art form whose impact was as revolutionary in Japan as 2)Gutenberg’s printed books were in the West, and an art form that had tremendous impact on modern Western 3)Impressionism. While the paintings of the Impressionists Monet, Van Gogh, Degas are 4)glittering treasures of Western culture, their inspiration wasn’t Western at all. The real source of their new vision was not in France, not even in Europe, but in a country on the other side of the world, in Japan.
By the mid-nineteenth century, after a long period of isolation, Japan was once again trading with the world. In the 5)bustling capital city of Edo, later to be known as Tokyo, artists and artisans were busy creating items for trade. In Edo most woodblock prints were things to be admired and then thrown away, like comic books or newspapers today. And so, 6)discarded prints were sometimes used to pack 7)ceramics for export to America and Europe. This is how Japanese woodblock prints first found their way into the oriental 8)curiosity shops of London and Paris.
In the mid-eighteen hundreds Western art was in a crisis. The realistic school of painting in Europe had reached sort of a dead end. The 9)newfangled technology of the photograph produced a picture far more realistic than any artist could ever hope to paint. And so, in search of inspiration for a new direction in their art, painters would gather to 10)marvel at, and collect, the latest Japanese imports.
The Japanese woodblock print offered a 11)strikingly different model for what art could be. Not photographic, but stylized and impressionistic. They emphasized the surface pattern of the print rather than try to create the illusion of space beyond the flat surface of the canvas. In Europe these prints helped bring about a revolution in art. We need to investigate what was behind the creation of these prints.
“e” means picture, and “Ukiyo” floating world. What was this “floating world?”
It was a place that looked a bit like this, Gion, the geisha quarter of Kyoto. In Edo, the 12)geisha and lower class 13)courtesans could be found only in the 14)Yoshiwara also called Ukiyo, the floating world. One 15)samurai described his experiences in the floating world thus:
Living only for the moment,
gazing at the moon, the snow,
the cherry blossoms and the maple leaves,
singing songs, drinking wine,
16)diverting ourselves and just floating,
floating.
Caring not a 17)fig,
for the problems staring us in the face,
and floating like a 18)gourd in the river current.
That is what we call the floating world.
日本的版画（浮世绘），不仅在日本产生不亚于古腾堡的便携式书籍之于西方的革命性影响，还大大影响了现代的西方印象派。尽管印象派大师莫奈、梵高、德加的作品成为了西方艺术殿堂里闪闪生辉的宝物，他们的创作灵感却完全不是源于西方。他们新视觉的真正源头不在法国，甚至也不在欧洲，而是来自地球的另一端的日本。
经历了一段长时间的与世隔绝后，日本在19世纪中叶重新与世界建立起贸易联系。在繁嚣的首府江户（即后来的东京），艺术家和工匠们都在忙于创作作品以进行贸易。这里大部分的版画就像今天的漫画书或者报纸一样，先是受到人们的青睐，随后就遭丢弃。而被丢弃的作品有时会用来包裹陶瓷制品，然后出口到美洲和欧洲。日本的版画最初就是通过这种方式走进伦敦和巴黎的东方古董店的。
18世纪中叶，西方艺术界正经历一场危机。欧洲现实主义绘画流派有点走进了死胡同。新流行起来的摄影技术拍出的照片，真实感远超任何一位画家所期望绘画能达到的程度。因此，为了找寻新的艺术方向的灵感，画家们把注意力放在令他们惊艳的新近从日本进口的物品中，并开始收集这些东西。
日本的版画是一种与众不同的、让人印象深刻的艺术形式。它不像照片般写实，而是有固定格式并基于印象的。画家们着重强调的是作品的表面图像，而不是试图在平白的帆布上创造出空间的幻觉。在欧洲，这些版画掀起了一场艺术革命。那么它们究竟是基于什么来创作的呢？
“e”代表绘，“Ukiyo”是指浮世。那什么是浮世呢？
（现在的）新桥，这个京都艺伎聚居的地方就有点像浮世。（当时）在江户，艺伎和下层的妓女只居住在吉原，也称为浮世的这个地方。曾经有一个武士这样描述他所体验的浮世：
生命只是活在当下，
凝望着月亮、白雪、
樱花、枫叶，
唱着歌，喝着酒，
放纵着自我，任意漂浮，
漂浮。
了无牵挂，
烦恼纵在面前闪现，
就如流水中的瓢一样漂浮。
这就是浮世。
翻译：谢尔逊