精工艳雅和含蓄媚俗--仇英仕女画与铃木春信美人画比较分析-seiko yan ya and subtle kitsch - comparative analysis of chou ying ladies painting and suzuki chunxin beauty painting.docxVIP

摘 要摘要仇英是我国明代中期“吴门画派”的代表画家，其仕女画精细工丽，色彩绚烂。铃木春 信是日本江户时代浮世绘画师，其美人画体态轻盈，诗意多姿，颇有明代仕女画画风。浮世 绘美人画沿袭唐绘、大和绘的传统，脱胎于中国传统仕女画，在此基础上融入本土绘画语言， 发展为日本的“国粹”。本文通过对仇英仕女画与铃木春信美人画的比较研究，分析二者的 异同及产生的原因，在同的层面详细阐述仇英仕女画对铃木春信美人画的影响，在异的层面 引发出各自对后世的影响，并对此提出一些思考，总结出各自在发展过程中的得失经验，挖 掘更深层的文化与艺术涵义。关键词：仇英仕女画铃木春信美人画比较影响南京艺术学院硕士学位论文AbstractQiu Ying is a representative artist of “Wu Men School” in China’s medium-term of Ming Dynasty. His Belle Paintings of court ladies are the paintings with meticulous detail, which is elegant and colorful. Suzuki Harunobu is a Ukiyo-e artist of Japanese Edo Era. In his Belle Paintings, the beautiful ladies are light in posture and poetic in attitude, which contains the style of Chinese Belle Paintings in Ming Dynasty. Ukiyo-e paintings followed the traditional painted beauties of China’s Tang Dynasty and Japanese Yamato-e paintings, born out of traditional Chinese Paintings，drawing into their local languages, and finally became Japan’s“national essence”.In this article, I did a comparative research of their Belle Paintings, analyzing the reasons of differences and the similarities between them, traversing how Qiu Ying’s Belle Paintings influenced Suzuki Harunobu at the same level, arising their respective impact to future generations at different levels. In the end, I summed up their respective pros and cons in Belle Paintings, trying to dig the deeper cultural and artistic meanings of their Belle Paintings.Keywords: Qiu Ying’s Belle Painting, Suzuki Harunobu’s paintings of beautiful women, compare, influence南京艺术学院硕士学位论文图片索引图 1：《汉宫春晓图》（局部）（1482----1559），仇英，卷，绢本设色，30.6×574.1cm，台北故宫博物院 藏。图 2：《风俗四季歌仙----卯月云外郭公》（1725--1770），铃木春信，27.7×20.0 cm，VictorAlbert Museum，No.E.4368-1897.London。图 3：《汉宫春晓图》（局部）（1482----1559），仇英，卷，绢本设色，30.6×574.1cm，台北故宫博物院 藏。图 4：《坐铺八景----琴柱の落雁》（1725--1770），铃木春信，29.0×21.7cm，The Art Institute of Chicago， All Rights Reserved. Clarence Buckingham Collection，1928，899，Chicago。图 5：《修竹仕女图》（1482--1559），仇英，88.3×62.2cm，立轴，绢本设色，上海博物馆藏。 图 6：《雪中相合伞》（1767），铃木春信，中版锦绘，27