清代盛世苏州风景木版画与西方美术的跨文化交流.PDF

十三、 清代盛世蘇州風景木版畫與西方美術的跨文化交流-張繼文 清代盛世蘇州風景木版畫與西方美術的跨文化交流 張繼文 Chi-Wen Chang 國立屏東大學視覺藝術學系專任副教授 摘要 中國清代雍正和乾隆盛世時期的蘇州風景木版畫受到西方美術的影響而蔚 為其風格特色。這些蘇州風景版畫創作者們採用西方美術元素，不但使用西方繪 畫中的一點透視法和明暗表現法來強調畫面上物體的透視感和明暗的對比效果， 同時也表現物象的投影所產生的強度立體感。這些作品雖運用中國繪畫和木版畫 的特定傳統形式且再現在地性的蘇州地區風景元素例如山巒、河流、建築物與人 物等，但又模仿西方美術技法並發展歐洲銅版畫的特徵而產生所謂 「折衷式風格 」。 在清代蘇州風景木版畫 中，東西方兩大美術風格各自獨立，卻又產生某種交叉與 融合 。從視覺文化研究的觀點而言，這種清初蘇州風景版畫的「折衷式風格」顯 然是十八世紀東西方跨文化交流的佳例之一 。 關鍵詞：中國清代盛世；蘇州風景木版畫；西方美術；折衷式風格；跨文化交流 Abstract The most obvious feature of the artworks of Suzhou scenic block print during the heyday of Chinas Qing Dynasty, especially the period of the emperors Yongzheng and Qianlong, is the stylistic influence of Western art. The artists of Suzhou scenic block print adopted the style of European art elements, not only emphasizing the perspective of objects in the picture and the contrasts between light and shadow by using the methods of linear perspective and chiaroscuro in Western paintings and prints, but also producing a strong three-dimensional feeling by showing the shadows cast by the objects in the scene. Despite using certain features from the Chines painting tradition and representing indigenous landscape elements of Suzhou area, such as mountains, streams, buildings and human figures, the artists of Suzhou scenic block print also 174 absorbed visual feature of European engraving techniques and thus produced the “eclectic style”. In these artworks of Suzhou scenic block print, the Eastern and Western art styles both are independent from each another, but at the same time are able to facilitate a certain level of overlapping and integration. From the perspective of visual culture studies, the “eclectic style” of the artwor