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2015年,黑龙江省美术馆收藏了一组卡洛铜版画共计32件,引起业界关注。这批作品均由意大利铜版画雕刻师卡洛·拉西尼阿(Carlo Lasinio,1759年—1838年)雕版制作,原作均出自意大利文艺复兴时期名家之手,其中吉兰达约18幅,马萨乔2幅,马索利诺2幅,马萨乔和马索利诺合作1幅,塔德奥·加迪4幅,利皮2幅,罗塞利·柯西莫1幅,乔托1幅,斯皮内罗·阿雷蒂诺1幅,题材均为圣经故事。北京大学教授朱青生由此展开思考,撰写了《版画的渊源》一文。文章从中外美术比较研究的角度,同时借助现代传播学的某些观念,阐述了版画的“源”与“流”。本刊现将该文刊载如下,同时选载黑龙江省美术馆收藏的卡洛部分版画作品,供读者参考。
In 2015, a total of 32 pieces of Carlo copper engravings were collected by the Heilongjiang Art Museum, attracting the attention of the industry. All these works are engraved by Italian engraver Carlo Lasinio (1759-1838). The original works are all made by Italian Renaissance masters, of which about 18 were Georges, Joe 2, Masolino 2, Masaccio and Masolino 1, Tudor Gaddi 4, Lipi 2, Roseli Cosimo 1, Giotto 1 One, Spinello Aretino, with Bible stories. Peking University professor Zhu Qingsheng thus started thinking, writing a “print origin” article. From the perspective of the comparative study of Chinese and foreign fine arts, the article expounds the “source” and the “stream” of prints in the light of certain concepts of modern communication. This issue appears in the paper published below, also selected Caro part of the collection of Heilongjiang Provincial Art Museum prints for readers reference.