摘要
郑振铎先生的木刻版画研究涉及两个主要方向:木刻版画的创作主体与艺术风格。在这两个方向上贯穿着郑振铎异中求同的研究思路,亦即在具体的事件与作品中概括共性,在历史演变中探求稳定成立的因素。郑振铎依据此思路构建起关于世界木刻史的宏观框架。此种框架的价值,并不在于与一切历史细节的精确契合,而在于成功彰显郑振铎心目中那些版画史上最为关键的层面,以及为一切木刻史作品与事件提供统一的评价尺度。
Zheng Zhenduo＇ s study of woodcuts involves two main directions： creative subjects and artistic styles. Both directions reflect his thinking of diversity in unity, that is, in specific events and works outlining generality; in the history of evolution seeking stable factors. Based on this idea, he has built up a macro framework of the world woodcut history. The value of such a framework does not lie with the precise fit for all historical details, but rather what is highhghted in his mind＇--e most critical aspects in the woodcut history, as well as the unified evaluation scales provided for all historical woodcut works and events.
出处
《廊坊师范学院学报（社会科学版）》
2013年第5期95-98,共4页
Journal of Langfang Normal University(Social Sciences Edition)
基金
教育部人文社会科学重点研究基地重大项目"古代希腊史学的理论与方法研究--在中西古代史学比较视野下的思考"(10JJD770006)阶段性成果
