【作者】 吴波；

【导师】 严敏；

【作者基本信息】 合肥工业大学 ， 建筑学， 2025， 硕士

【摘要】 徽派版画是兴起于明代中叶、起源于徽州地区并广泛流传在江南地区的版画流派,作为中国版画艺术的重要分支,在中国文化史、美术史上具有重要地位。古代徽派版画常见于文学作品插图中,文字配以精美的版画插图,描绘内容反映丰富的历史信息,以片段或全景形式记录大量造园内容与要素,既客观呈现造园技艺与空间要素,又主观映射园居生活图景,成为研究古代园林的重要图像文本。本文以徽派版画中的园林图像为研究对象,聚焦明代戏曲、小说类文学作品插图,以图像学理论为指导,对明代徽派版画中的园林要素与风貌特征进行深入解析。论文按照图像学理论“前图像志建立-图像志分析-图像学阐释”的研究步骤依次展开,采用语义网络法与语义本体法相结合的研究体系,对版画中的园林空间进行整理与分析,以期从园林图像中探究明代造园特征与手段,扩充园林史的研究视角。研究主体部分依据图像学研究理论的三个步骤展开。首先,整理并筛选30本明代版画的园林图像992幅,对园林要素进行识别与分类,将图像转译成文字,识别出49种园林要素,并分为建筑要素、人文要素与自然要素三类,完成版画中园林的“前图像志建立”阶段,形成对徽派版画园林的初步认知;第二,对徽派版画中的园林空间进行分类,分为庭院空间、花园空间、室内空间与外部环境,运用语义网络法量化不同空间中园林要素中心性与关联性,并从中提取高关联性要素组合,进一步挖掘要素的组合规律与特征;运用语义本体法对图像园林风貌记述体系进行构建,从材质、类型等多种方面对园林要素进行属性划分,并记录每一种属性的频次,由要素形式频次、比例的对比,探究明代造园的偏好趋势,以及自然环境、社会风向与地域物产对造园的影响,完成徽派版画园林的“图像志分析”阶段,以形成对徽派版画园林深入的理解;第三,从环境选址、建筑营造、园居生活场景三个方面解码明代戏曲、小说版画中的园林风貌特征,联系地域山水格局、地域文化内涵与时代文化风向,剖析园林因地制宜与文化赋予的营造思想,完成徽派版画园林的“图像学阐释”阶段。徽派版画是珍贵的历史图像遗产,记录造园内容,反映古代园林风貌,本次研究将徽派版画的艺术价值扩展到造园领域,研究成果是中国古典园林史研究的有益补充,丰富园林历史的研究视角与途径。也扩充了图像园林学的研究内容与方法,对当代人居环境的改善与园林文化遗产的保护研究提供一定启示。更多还原

【Abstract】 Huizhou-style woodblock prints,a genre of woodblock printing that emerged in themid-Ming Dynasty,originated in the Huizhou region,and widely spread across the Jiangnan area,hold a significant position in Chinese cultural and art history as an important branch of Chinese printmaking.Common in Ming Dynasty opera and novel literature,these prints feature elegant illustrations alongside text,depicting rich historical information.They record extensive garden-related content and elements through fragmentary or panoramic depictions,objectively presenting gardening techniques and spatial elements while subjectively reflecting the garden life,thus becoming crucial visual texts for studying ancient gardens.This paper takes garden images in Huizhou-style woodblock prints as the researchobject,focusing on illustrations in Ming Dynasty opera and novel literature.Guided by iconology,it deeply analyzes the garden elements and stylistic features in these prints.Following the research steps of iconological theory—"pre-iconographic establishment,iconographic analysis,and iconological interpretation"—the study employs a combined approach of semantic network and semantic ontology to organize and analyze garden spaces in the prints,aiming to explore Ming Dynasty gardening characteristics and methods from visual sources and expand the research perspectives on garden history.The main body of the research unfolds according to the three steps of iconological theory.First,992 garden images from 30 Ming Dynasty woodblock print collections are sorted and screened.Garden elements are identified and classified,with images translated into text,recognizing 49 types of elements categorized into architectural,humanistic,and natural elements,completing the"pre-iconographic establishment"stage and forming a preliminary understanding of Huizhou-style garden prints.Second,garden spaces in the prints are classified into courtyard spaces,garden spaces,interior spaces,and external environments.Semantic network analysis is used to quantify the centrality and correlation of elements in different spaces,extracting highly connected element combinations to uncover their compositional rules and features.Semantic ontology is applied to construct a descriptive system for garden landscapes,dividing element attributes by material,type,etc.,and recording the frequency of each attribute.Through comparing the frequency and proportion of element forms,the study explores Ming Dynasty gardening preferences and the influences of natural environments,social trends,and regional products on garden design,completing the"iconographic analysis"stage for a deeper understanding of Huizhou-style garden prints.Third,the study decodes the stylistic features of gardens in Ming Dynasty opera and novel prints from three aspects:environmental site selection,architectural construction,and garden life scenes.By linking regional landscape patterns,cultural connotations,and contemporary cultural trends,it analyzes the concepts of adapting to local conditions and cultural endowment in garden design,fulfilling the"iconological interpretation"stage.Huizhou-style woodblock prints are precious historical visual heritage,recording gardening content and reflecting ancient garden landscapes.This research extends their artistic value to the field of garden studies,with findings serving as a beneficial supplement to the research on Chinese classical garden history,enriching research perspectives and methods.It also expands the content and approaches of visual garden studies,offering insights for improving contemporary living environments and protecting garden cultural heritage.更多还原