Investigating the Origins of Eighteenth-century “Still-life” Prints in Painting Anne FARRER Sotheby’s Institute of Art – London,Center for Chinese Visual Studies, China Academy of Art, Hangzhou,and Muban Educational Trust
Investigating the Origins of Eighteenth-century “Still-life” Prints in Painting Anne FARRER Sotheby’s Institute of Art – London,Center for Chinese Visual Studies, China Academy of Art, Hangzhou,and Muban Educational Trust
自绘画中探查十八世纪“静物画”版画之起源 Anne FARRER 伦敦苏富比艺术学院，中国美术学院・杭州，木版教育信托
自绘画中探查十八世纪“静物画”版画之起源 Anne FARRER 伦敦苏富比艺术学院，中国美术学院・杭州，木版教育信托
Western Palaces and Suzhou Prints Lucie OLIVOVA Masaryk University
Western Palaces and Suzhou Prints Lucie OLIVOVA Masaryk University
西方宫殿与苏州版画 Lucie OLIVOVA 马萨里克大学
西方宫殿与苏州版画 Lucie OLIVOVA 马萨里克大学
西洋宮殿と蘇州版画 ルーシー・オリボバ マサリク大学
西洋宮殿と蘇州版画 ルーシー・オリボバ マサリク大学
Chinese Prints in Leykam Room XiaoFei LI Chinese National Academy of Arts
Chinese Prints in Leykam Room XiaoFei LI Chinese National Academy of Arts
关于莱凯厅中国版画 李啸非 中国艺术研究院
关于莱凯厅中国版画 李啸非 中国艺术研究院
レイカムの間の中国版画 李嘯非 中国芸術研究院
レイカムの間の中国版画 李嘯非 中国芸術研究院
Single-sheet Prints of the Northern Song Dynasty and the Beginnings of Reproduction Pictures Kobayashi Hiromitsu Honorary Professor, Sophia University
Single-sheet Prints of the Northern Song Dynasty and the Beginnings of Reproduction Pictures Kobayashi Hiromitsu Honorary Professor, Sophia University
北宋时期的单幅版画与复制画的开端 小林宏光 上智大学名誉教授
北宋时期的单幅版画与复制画的开端 小林宏光 上智大学名誉教授
北宋時代の一枚摺版画と複製絵画のはじまり 小林宏光 上智大学名誉教授
北宋時代の一枚摺版画と複製絵画のはじまり 小林宏光 上智大学名誉教授
Suzhou and Hangzhou – Looking at Suzhou Prints from the Development of Urban Imagery Itakura Masaaki Institute for Advanced Studies on Asia, Tokyo University
Suzhou and Hangzhou – Looking at Suzhou Prints from the Development of Urban Imagery Itakura Masaaki Institute for Advanced Studies on Asia, Tokyo University
从城市图发展的观点所见的苏州版画─以苏州和杭州为例 板仓圣哲 东京大学东洋文化研究所
从城市图发展的观点所见的苏州版画─以苏州和杭州为例 板仓圣哲 东京大学东洋文化研究所
蘇州と杭州、都市図の展開から見た蘇州版画 板倉聖哲 東京大学東洋文化研究所
蘇州と杭州、都市図の展開から見た蘇州版画 板倉聖哲 東京大学東洋文化研究所
Literary Tales and Chinese Prints Ōki Yasushi Institute for Advanced Studies on Asia, University of Tokyo
Literary Tales and Chinese Prints Ōki Yasushi Institute for Advanced Studies on Asia, University of Tokyo
故事与中国版画 大木康 东京大学东洋文化研究所
故事与中国版画 大木康 东京大学东洋文化研究所
物語と中国版画 大木康 東京大学東洋文化研究所
物語と中国版画 大木康 東京大学東洋文化研究所
Posters from the Republic of China as the Descendants of Chinese Prints — Centering on Succession and Changes in Tradition Tajima Natsuko Ome Municipal Museum of Art
Posters from the Republic of China as the Descendants of Chinese Prints — Centering on Succession and Changes in Tradition Tajima Natsuko Ome Municipal Museum of Art
民国时期海报里的中国版画复兴─以传统的继承与变化为中心 田岛奈都子 青梅市立美术馆
民国时期海报里的中国版画复兴─以传统的继承与变化为中心 田岛奈都子 青梅市立美术馆
中国版画の末裔としての民国期ポスター～伝統の継承と変容を中心として～ 田島奈都子 青梅市立美術館
中国版画の末裔としての民国期ポスター～伝統の継承と変容を中心として～ 田島奈都子 青梅市立美術館
The Transmission of Chinese Prints to Japan Aoki Takayuki Umi-Mori Art Museum
The Transmission of Chinese Prints to Japan Aoki Takayuki Umi-Mori Art Museum
Ōki Yasushi Institute for Advanced Studies on Asia, University of Tokyo
It is possible that there is a story behind any image, which is also the case for Suzhou prints. For example, peaches and pomegranates are symbols of an abundance of children, and images that contain them also express that desire. Portraits of Guan Yu portray him as a deity, but surely, they are also intended to remind viewers of the stories of Guan Yu from the Romance of the Three Kingdoms. There are also stories behind images of historical figures and events, such as found in “The Importance of Raising Children in a Good Environment”. Here, however, I would like to consider Suzhou prints that are more directly associated with literary tales from novels and the Chinese opera. Some of these prints illustrate highlights of the tales with individual scenes, while others link multiple scenes together through the imagery. A considerable number of scenes are also recreated by figures on stage wearing costumes. Why were these pictures of dramatic plays created, and what kind of people were they made for? When it comes to the relationship between novels, Chinese opera, and prints, the question of prints made as illustrations for books is often considered, but here I would like to think about the meaning behind the existence of the great many single-sheet prints that remain with us today.
The subject of this lecture is twenty-eight sheets of Chinese woodcuts in Leykam Room in Palace Museum Graz, Austria. Seven topics constituted those prints in which manufacturing technique and visual effect were both spectacular. Facial expression, hairstyle, and costume, the feature of figures in the woodcuts were related closely with popular images in Early Qing society. And what was more, western artistic elements, for example, linear perspective, chiaroscuro, and hatching, were widely utilized in those woodcuts, that were also distinctive characteristic of Gusu prints in the 18th century. Expression of light shade and three-dimensional similarly appeared in earlier court arts such as copperplate engraving, painting, and architectural ornament which originated from European missionaries. Highly possibly the woodcuts in Leykam Room were produced in Suzhou in the first half of 18th century. Pursuit of auspiciousness and literati taste were intentionally highlighted and thus fitted consumers. With developing world trade line, the 18th century was the time of Rococo in Europe, exchanging of idea, technique and material. So-called “Chinoiserie” was one of the most frequent element in European culture from the 17th to the 18th century, including diverse material forms in which Chinese prints has the characteristics of materiality and visuality.
