試論日本浮世繪與榮寶齋木刻水印畫的相同及相異之處

東方木刻水印圖畫，自唐初三藏大師由天竺取經回長安後，就倡議廣印「賢菩薩像」，已有1300 多年歷史。在日本17 世紀中期菱川師宣將書籍插畫獨立，成為生活場景及歌舞伎人物印成「役者繪」之後，首先以人工加彩，到1765 年鈴木春信發明多色印刷的彩色「錦繪」浮世繪，這一種庶民欣賞的海報、畫片，流行到20 世紀初才式微，但其對象由人物、生活、風景、故事畫、慶典場景、春畫等等，對江戶人在欣賞水印畫作有深遠影響，成為十八、十九世紀日本繪畫發展主體。甚至浮世繪19世紀初傳到歐洲也影響到印象派及野獸派畫作的創作思考變革。同樣在東方中國，明朝晚期1619~1627 年就有套版（餖版）彩色木刻水印，最有名的是「十竹齋繪譜」由胡正言輯印。彩色木刻水印鉅作有北京琉璃廠榮寶齋，創立於康熙十一年1672 年，最早以販售紙、筆、墨、硯等文房用品的南紙店起家，後來才對收藏畫作刻印成複製畫，以分刻成數十、數百到上千片木刻版，使用水印方式加以印刷複製，達到複製傳播印刷目的，但榮寶齋木刻水印是對既有的名畫仿真複製，屬於高層次的藝術品複製市場而已，尤其近年人工貴，加上好的工作人員難覓，已成為昂貴高端藝術市場產品，至少比浮世繪自20 世紀初式微延續久一些，日本現只剩傳統工藝協會數十名會員在支撐浮世繪，榮寶齋已成「國家級非物質文化遺產」，兩者在地位上相差很多。

關鍵字

浮世繪；榮寶齋；木刻水印；役者繪；錦繪；風景繪；仿真畫

並列摘要

In A.D. 650s,. Chinese Tang Xuan Zng wished to Print Buddhist Samatabadra’s post that became the first woodblock post print. In 1680s, Hishikawa Moronobu, Edo Japan artist, printed out Ukio-e that was the Single sheet poster about pictorial including Living style, landscape, and etc., and out of formed illustration in the books. It had been the mainstream of Japanese fine arts for 250 years. Furthermore, it also changed the 19 century European artists' paint thinking and painting styles. In China, Hu Cheng En edited and published the ＂Shr ju jai＂, the Chinese water color painting album by woodblock printing method from A.D. 1619 to 1627, which was the master color printing publication in Ming Dynasty. In Peking, Rong Bao Zhi, a work shop, was found in A.D. 1672. It originally sold papers, inks, inkstones, and paintbrushs, and then has manufactured Chinese paints reproduction by applying woodblock water color for more than centuries. The high skilled workers of the work shop drew and carved wood plates, and the carved wood plates were used to print to reproduce high quality fine arts pieces. Though Rong Bai Zhi used the similar printing technology as that of Ukio-e, but it does not create any new artwork to influence the developing of fine arts, and not influence other artists' creative thinking in China and other countries.