【作者】 朱明清；

【导师】 田青；

【作者基本信息】 中国艺术研究院 ， 艺术学， 2014， 博士

【副题名】以上海朵云轩为例

【摘要】 自联合国教科文组织2003年正式通过《保护非物质文化遗产公约》以来,中国非物质文化遗产的传承与保护在理论和实践两个层面已经取得了广泛而深入的成果。非物质文化遗产名目的立项,使中国传统文化化为一个个具体、鲜活、立体的民族文化形象,走入社会大众的视野和文化保护研究的领域,而在当今文化同质化的信息时代,这场文化工程的长远意义,更是为了促进中华民族文化的传承和发扬,保护民族文化多样性的基因。中国是历史悠久的文明古国,久以造纸、火药、指南针、印刷术这四大发明闻名世界。作为传统印刷文化的活化石,木版水印技艺是传统木刻版画发展到20世纪这一个时代转折点的产物,它的顺时而变不仅仅在功能转换上有所体现,还反映于时代赋予的新内容。只是,如果说中国传统木版画的价值体现于手工时代审美与实用功能的兼备,而且从当今文化研究的角度来看,它从视觉图像的层面亦补充了文本的历史叙述,那么,木版水印技艺,基于人们对它的认识普遍停留在绘画复制品的概念上,这项古老的手工技艺,除了继承了不为正统的艺术评价体系所重视的历史问题,它所面对的时代质疑,还包括功能意义抽离以后形成的价值否定。2008年,木版水印技艺被列入国家级非物质文化遗产保护名录以来,引起了不少社会文化人士的关注,而对于大众的文化影响力,却见效甚微。于此,有感将木版水印技艺作为个案来探讨研究的必要性,借此来思考传统手工技艺未来的生存模式和发展方向。本文立足于从木版水印技艺的历史渊源出发,力图运用历史文献的相关记载和传世实物梳理出木版水印技艺发生发展的时代脉络,一并探究影响木版水印技艺品质形成的文化因素：隋唐以前,碑拓、印章以及佛像捺印的技术实践可以视为雕版印刷技术与书籍联姻的准备；隋唐时期,佛教主题的印刷品开启了纸本墨色印刷图像的先声；宋元时期,图像的图说功能被普遍应用于农业、科技、医药、天文、地理等专业领域,画谱等题材则开发了木刻版画的艺术表现力,并且出现了套版套色的技艺创新；明清两代,木刻版画进入全面发展的繁荣鼎盛时期,出版家、画家和文人刻工组成的新型出版集团推动了饾版套色的技术创新,以《十竹斋书画谱》、《十竹斋笺谱》、《萝轩变古笺谱》为代表的这类版画精品成为文斋清玩,而图书业至此也获得巨大的覆盖面和影响力；清代末期到民国以后,机械印刷冲击了传统的手工印刷行业,郑振铎和鲁迅大力提倡保护传统木刻艺术,木版水印逢此契机,迎来了新的发展。本文针对非物质文化遗产保护背景下的上海朵云轩木版水印技艺进行考察,试图从机构设置、传承主体、工艺流程以及市场运作这几个方面来读取这项手工艺的传承现状。在上述调查和研究的基础上,本文提出木版水印技艺保护策略的重点应该是针对技艺的传承和技艺的运作来制定切实的保护措施：一方面以巩固技艺传承人社会地位的方式来稳定传承体系,同时提高传承人自身的文化保护意识；另一方面,利用消费群体定位建立社交关系链,并且发展跨领域的市场合作带动创作和生产的有效互动。更多还原

【Abstract】 Since in2003that the UNESCO released the Protection of Intangible Culture Heritage, the inheritance and protection of intangible cultural heritage in China has moved forward greatly in both theoretical and practical levels with extensive and in-depth achievements. The enforcement of project makes China’s traditional culture live as a concrete and vivid ethnic cultural image in the field of the public attention and become the object of related protection research. Then, the significance of the cultural project, in the information era, has contributed dramatically to the inheritance and development of national culture as well as protection of its genetic diversity.The four historical inventions including compass, gunpowder, papermaking and printing are celebrated for their cultural significance and recognized as symbols of ancient China’s advanced science and technology. As a living fossil of traditional printing culture, the workmanship of woodblock printing has revived in the turning point of the20th century. The function of the woodblock printing continuously adapted to the history development with new content and new forms. Therefore, given the value is the reflection to the aesthetic and practical function in the handmade era, the Chinese traditional woodcut, from the visual perspective of contemporary culture, provided an additional carrier to the historical information. However, people’s cognition still stays on the painting reproductions over the woodblock printing technique. It’s the main reason that the handicraft cannot be treated as one of the main art streams. It also faces the doubt over its value exclusive of the existed function. In2008, woodblock technique was recorded in the protection list of China’s intangible cultural heritage and this drew an increasing attention of the numerous people but, a limited influence to the public. This study is going to elucidate the model and trend on the traditional craftsmanship with a case investigation on the handicraft.Based on the historical origination of the woodblock printing technique, I am trying to study the cultural factors which have influenced the quality of the technique with the related documents and records in different dynasties. The results show,1) Before the Sui and Tang dynasty, stone tablet rubbings, seals and other handicrafts with similar techniques can be seen as a preparation for the woodblock printing applied in the paper media.2) During the Sui and Tang dynasty, the first appearance of Buddha printed paper claimed the existence of woodblock printing technique.3) During the Song and Yuan Dynasty, woodblock printing images stood as visual interpretations of texts in the fields of agriculture, technology, medicine, astronomy, geography, and etc. Then Huapu of the kind made the first artistc expression in the woodblock printing.4) During the Ming and Qing dynasty, woodcut has developed to a prosperous level and the majority of books have their publishment with pictures. The well influential masterpieces, such as hua’pu in the late Ming and early Qing period, were even published with new inventions. These publications have later taken as valuable collections to researchers like scholars, painters and writers.5) From the late Qing Dynasty to the early20th century, the emergence of mechanical printing smashed the traditional printing industry, Zheng zhenduo and Lu Xun strongly advocated the protection on the traditional woodblock printing technology. Their efforts offered a good opportunity to initiate a new development on the technology.In this paper, the woodblock printing technique reserved in Shanghai Duoyunxuan was investigated from the angle of the protection of intangible cultural heritage. This study is trying to reveal the current status of the skill from the administration fabric, heritage carriers, art market operations and etc. Based on these surveys, the key point to the woodblock protection strategy should be focused on its inheritance and skill operation. On the one hand, the social status of the heritage practitioners should be emphasized so as to stabilize the inheritance system. On the other hand, the consumer orientation should be set as the target while the interdisciplinary market can be set up and making an effective interaction between production and innovation.更多还原