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鲁迅一生,共收藏汉画像拓片七百余幅,其中山东三百四十余幅,河南三百二十余幅,四川、重庆、江苏、甘肃等地四十余幅。河南三百二十余幅中,南阳二百三十五幅,重复三十幅。1长期以来,关于鲁迅收藏南阳汉画的研究,大多注重鲁迅收藏过程及目的意义,较少关注拓本制作技艺的研究。打制拓片的技艺,一般称传拓、椎拓等,是具有中国特色的十分重要的一项非物质文化遗产。本文拟从传拓技艺角度研究鲁迅收藏南阳汉画像石拓
Lu Xun’s life, a total collection of Chinese painting rubbings more than 700 pieces, of which more than 340 pieces of Shandong, Henan more than 320 pieces, Sichuan, Chongqing, Jiangsu, Gansu and other places more than 40 pieces. Three hundred and twenty in Henan, Nanyang two hundred and thirty-five, repeating thirty. For a long time, the research on Lu Xun’s collection of Nanyang Han paintings mostly focused on the collection process and purpose of Lu Xun, and paid little attention to the research on the techniques of making brocade. The technique of making rubbings is generally referred to as the extension of non-material cultural heritage with Chinese characteristics. This article intends to study Lu Xun’s collection of Nanyang stone portraits from the perspective of disseminating skills