【作者】 梅娜芳；

【导师】 范景中；

【作者基本信息】 中国美术学院 ， 美术史， 2011， 博士

【摘要】 本文以晚明徽州制墨家方于鲁和程君房及两人所编《方氏墨谱》、《程氏墨苑》为研究对象。首章从墨模雕刻工、画家和制墨家的角度探讨徽墨装饰题材在万历年间骤增的原因,试论墨从实用品到艺术品的功能转化。次章缕析方于鲁和程君房的私人恩怨及双方长达数十年的墨业竞争,以证程君房笔下之“中山狼”非专指方于鲁。第三章梳理《方氏墨谱》和《程氏墨苑》的编撰与推广,论证文人在墨谱推广中所起之助益。通过方、程两人与众文人的交游,兼论晚明工匠地位提升的问题,证明与文人并坐论理的是具有文人气质之工匠而非普通工匠。第四章试论《方氏墨谱》和《程氏墨苑》的成就。与其它墨书相比,两书作为墨样图集在编排体例上具有明显的图谱特色,显示了编者的雄心抱负。《程氏墨苑》中还收录了四幅天主教版画,本章第四节试分析利玛窦有意识的篡改经文,并将圣母像称之为“天主”的原因。更多还原

【Abstract】 This dissertation covers the subjects of two Hui-chou ink-makers, Fang Yü-lu and Ch’eng Chün-fang, in late Ming China, and their Fang-shih Mo-p’u and Ch’eng-shih Mo-yüan. Chapter one analyses the causations of affluent and flamboyant designs of ink-sticks in Wan-li period in terms of ink-mold carvers, painters and ink-makers. And discusses how the function of ink-sticks transformed from utility to art works. Chapter two describes the kind and enmity and competition in ink-making between Fang Yü-lu and Ch’eng Chün-fang. And prove the so called“Chung-shan lang”in Ch’eng Chün-fang’s writing did not necessarily refer to Fang Yü-lu. Chapter three expatiates on the compilation and popularization of Fang-shih Mo-p’u and Ch’eng-shih Mo-yüan in which literati played significant effect. And present the intercourse among Fang Yü-lu, Ch’eng Chün-fang and literati, pay attention to the status of craftsmen in late Ming reaching a conclusion that those who could tattle with literati are not the common craftsmen but the craftsmen resemble to literati. Chapter four discusses the achievement of Fang-shih Mo-p’u and Ch’eng-shih Mo-yüan. Comparing with the other books about ink-sticks, the editorial programs of these two ink-manuals reveal their origins as catalogs of objects, as well as the ambitions of their compilers. Ch’eng-shih Mo-yüan also contains four prints depicting subjects of Roman Catholics. I want to explain why Matteo Ricci changed the commendations of them and called the Modonna as“tien chu”intentionally.更多还原