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明清时期,徽派版画兴旺发展,创作出大量版画精品。徽派版画的题材内容包罗万象,其中,风景版画占据重要地位,代表性作品便是明万历年间新安汪氏环翠堂刻的《环翠堂园景图》,主要以徽州的自然和人文风景为绘刻对象。风景在《环翠堂园景图》中,并不仅仅作为一种单纯的视觉符号存在,还被“掺入了道德的、观念的、政治的因素”~([1]),表现出多重文化认同形式,具有了深刻的审美和文化表征意义。
During the Ming and Qing Dynasties, Anhui prints flourished and created a large number of prints. The themes of the Hui-style prints are all-encompassing. Among them, the landscape prints occupy an important position. The representative works are the Wanhuantang Garden Landscape Carved by Xin’an Wang Huancui during the Ming Dynasty. The main scenic spots are the natural and cultural landscapes of Huizhou Paint objects. The landscape is not only present as a purely visual symbol in the Garden View of Huancui Church, but is also “mixed with moral, conceptual and political factors” [1] A multi-cultural identity forms, with a profound sense of aesthetic and cultural characterization.