中国古代《耕织图》在日本的本土化流变探究

Localization and Evolution of the Ancient Chinese Painting of Farming and Weaving in Japan

中国古代《耕织图》自南宋楼璹首创,历经时代的变迁,成为整个封建社会农耕文化的视图标尺。日本室町时代,《耕织图》流布日本,为日本狩野画派所接纳和摹绘,用以作为粉本模仿中国的水墨绘画来彰显统治者的文化品味,后逐渐形成极具日本民族特色的“四季耕作图”“养蚕机织图”。较之原本的《耕织图》内容,这些图绘有了绘画载体及绘画组构的改变,日式元素的融入也推进了其在日本的本土化发展,堪称中国文化对外传播的良好范例。

In ancient China, the Painting of Farming and Weaving was first created by Lou Shu in the Southern Song Dynasty. With the changes of the times, it has become the standard of culture view for farming in the whole feudal society. In the Muromachi era, the ancient Chinese Painting of Farming and Weaving spread to Japan. It was accepted and copied by the Japanese Karino painting school as a template to imitate Chinese ink painting to show the cultural taste of the rulers. Later, it gradually developed into the agricultural paintings with Japanese characteristics such as “Cultivation in Four Seasons” and “Silkworm Rearing and Weaving”. Comparing with the Painting of Farming and Weaving, these paintings changed the carrier and composition of paintings. The integration of the Japanese elements also promoted their localization and development in Japan. It can be regarded as a good example of the overseas communication of Chinese culture.