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明代发达的木刻刊印出版记事的功能,积累了丰富的历史和文化。可是,美术史的一般著作还局限在文人画发展的轨迹之上,明代典籍插图在整个明代绘画史上的重要性没有得到充分的认识。《三省备边图记》以一图一记或二图一记的方式,记录和表现了苏愚所指挥的抗倭之战,依据文字的构思立意、构图布局、人物表现,遵从审美规律的黑白对比与疏密安排,成为明代典籍中的抗倭图像的代表作。与卷轴画中的抗倭表现以及与典籍中的其它抗倭图像相比,明代典籍中的抗倭图像完全脱离了文人自我的或文人群体的趣味,将木刻刊印艺术上升到一个国家层面上的时代写照,并表现出与中国自古就有的“成教化,助人伦”传统之间的联系。
The well-developed woodblock printing and publishing functions of the Ming Dynasty, has accumulated rich history and culture. However, the general works of art history are still confined to the trajectory of the development of literati painting. The importance of illustration books in the Ming Dynasty in the history of painting in the Ming Dynasty has not been fully understood. The Three Provinces Margin-side Pictorial recorded and demonstrated the war against Japanese-Japanese commanded by Su Yu according to the way of one map or two maps, based on the conception of the conception of the text, the composition of the composition, the performance of the characters and the compliance with the aesthetic laws Black and white contrast and density arrangements, became the Ming Dynasty classics anti-Japanese image masterpiece. Compared with the anti-Japanese performance in scrolls and other anti-Japanese images in classics, the anti-Japanese image in Ming classics completely departed from the interest of literati or literati groups and raised the art of woodcut printing to a national level Portrayed by the times and showing a link with the tradition of “educating and helping others” that has existed in China since ancient times.