中国古代《蚕织图》技术文化东传对“蚕织浮世绘”影响研究

Study on the influence of the eastern transmission of the technical culture ofPictures of Silkworms Rearing in ancient China on “Sericulture Nishiki-e”

日本“蚕织浮世绘”是中华农业技术文化东传日本的证据。江户时代的胜川春章、北尾重政、喜多川歌麿等日本画家绘制的“蚕织浮世绘”,再现了中国古代《蚕织图》技术环节称谓、蚕桑器具形状、“图文互释”等特征。15世纪至19世纪后期,鉴岳真相收藏梁楷《蚕织图》、狩野永纳摹绘宋宗鲁本《蚕织图》、橘守国以楼璹版《蚕织图》为基础《绘本直指宝》,深化了中华农业技术文化东传日本的基础并扩大了其影响,最终形成日本“蚕织浮世绘”。“蚕织浮世绘”是日本农耕图像表达迈向本土化的结果,其特征包括3幅连续绘的表现形式,画面套色艳丽、构图空间多元、人物肖像“美人绘”等,其中仍能看到中国古代《蚕织图》技术文化的影响痕迹。

Pictures of Silkworms Rearing in Ancient China is an important content of Pictures of Tilling and Weaving,and is the image symbol representation of the ancient Chinese silkworm-rearing and silk-reeling techno-culture.Japan’s Sericulture Nishiki-e is the exotic representation of the Chinese agricultural image symbol,as well as the significant case of the integration of Chinese agricultural culture and east Asian regional cultural exchanges.The investigation of Sericulture Nishiki-e completes the evidence chain of the eastern transmission of ancient Chinese agricultural images,and also provides a historical review for the exchange of civilizations in East Asia.With the method of literature analysis and image-text analysis,we compared and analyzed the Japan’s Sericulture Nishiki-e and Pictures of Silkworms Rearing in Ancient China.After the literature analysis,it is found that Pictures of Tilling and Weaving in ancient China was spread to Japan through representative figures,such as Kangaku Shinsou,Kano Eino and Tachibana Morikuni.Tachibana Morikuni was the first person who painted the Sericulture Nishiki-e.He combined Pictures of Silkworms Rearing in Ancient China with the Sericulture Nishiki-e,and created the illustrative picture books Morokoshi KinmōZui and The Painting Guide Album:The Female Weaver,both of which retain the characteristics of ancient Chinese paintings.With the influence of Tachibana Morikuni,the famous Japanese Ukiyo-e painter Katsukana Shunsho and Kitao Shigemasa painted Silkworm Cultivation(Kaiko Yashinai Gusa),which was the beginning of the transformation of Pictures of Silkworms Rearing in Ancient China to the localization of Ukiyo-e.At the end of the 19 th century,Youshu Chikanoku pushed the creation of Sericulture Nishiki-e to a climax,and the painting style of Sericulture Nishiki-e gradually separated from ancient Chinese painting and had the artistic characteristics of Japanese ethnic painting.With the method of image-text analysis,we found that the Sericulture Nishiki-e and Pictures of Silkworms Rearing in ancient China are similar in three perspectives.First,in terms of the name of working procedures of silkworm rearing and silk reeling,Lou Shu’s Pictures of Tilling and Weaving provides graphic examples for the image expression of agricultural technology.These graphic examples contain 21 pieces of tilling pictures and 24 pieces of waving pictures.Sericulture Nishiki-e recreated these images in a particular way.Second,in terms of the pattern of sericulture utensils in weaving pictures,the images of sericulture utensils in Sericulture Nishiki-e imitated the patterns in Morokoshi KinmōZui.The drawing technique of sericulture utensils in agriculture images inherited the same pattern,in an chronological order of Lou Shu’s Pictures of Tilling and Weaving,Cheng Qi’s Pictures of Tilling and Weaving,Wang Zhen’s Agricultural Books:Agriculture Tools Graphic,Tachibana Morikuni’s Morokoshi KinmōZui and Sericulture Nishiki-e.Third,in terms of the narrative mode of“verbal-visual intertextuality”,the interpretation of Sericulture Nishiki-e retains the narrative characteristics of the ancient Chinese painting,and it has influenced the dissemination patterns and methods of Japanese agricultural technology and culture.Previous studies focus on the dissemination process and collection of ancient Chinese Pictures of Tilling and Weaving in Japan.Compared with these,the research takes Sericulture Nishiki-e as the starting point to explore the reproduction of the ancient Chinese Pictures of Silkworms Rearing in Japan.In short,the research pays more attention to the achievements of the spread of ancient Chinese agricultural culture,and discusses the absorption and re-creation of the ancient Chinese culture by the Japanese cultural community.Sericulture Nishiki-e not only highlights the openness and inclusiveness of Chinese culture,but also shows that exchanges and mutual learning between civilizations are the key to stimulating and maintaining cultural vitality.