摘要
全形拓始于18世纪末、19世纪早期,著名金石僧六舟为创始阶段的代表人物,由他制作的此类作品是所知保存至今最早的全形拓原件。六舟的全形拓技法多种多样,至少包括颖拓、翻刻椎拓、原器椎拓及补绘等,他以其中一种或多种方法结合来制作作品。六舟制作全形拓的本意,是为了方便金石学研究,在当时的金石学界享有盛誉。六舟进一步将全形拓与中国画相结合,创作了一种全新的绘画形式。他借此表现金石文字传千秋而不朽的顽强能力,并尝试以补绘花卉的方式来赋予它们崭新的生命。全形拓及全形拓入画还深深地影响了19至20世纪的中国美术界,成为当时非常流行的美术形式。
Stereo rubbing emerged in the late 18 th to early 19 th century, with Liuzhou as its pioneer. His works are the earliest existing original stereo rubbings known so far. Stereo rubbing involves various techniques, including yingta [颖拓], fanke zhuita [翻刻椎拓], yuanqi zhuita [原器椎拓] and buhui [补绘]. One or several of these techniques have been used in Liuzhou works. As a 19 th century monk accomplished in inscriptions on ancient bronzes and stone tablets, Liuzhou started stereo rubbing for academic purposes only. He further created a brand-new form of painting by combining stereo rubbing with Chinese painting. Recognizing the artistic power of ancient inscriptions, he attempted to revive them by painting flowers as supplements to stereo rubbings. Stereo rubbing and its combination with painting enjoyed great popularity and had far-reaching influences on Chinese art during the 19 th to 20 th century.
出处
《中国国家博物馆馆刊》
CSSCI
北大核心
2015年第3期105-120,共16页
Journal of National Museum of China
关键词
全形拓
六舟
清代
金石
绘画
Stereo rubbing
Liuzhou
Qing dynasty
inscriptions on ancient bronzes and stone tablets
painting
