頁籤選單縮合
| 題 名 | 明末清初中國繪畫對東北亞地區的影響=Influence of Chinese Painting on North-East Asia during the Sixteenth to Seventeenth Centuries |
|---|---|
| 作 者 | 程君顒; | 書刊名 | 慈濟技術學院學報 |
| 卷 期 | 12 2008.12[民97.12] |
| 頁 次 | 頁151-171 |
| 專 輯 | 圖版,頁163-170 |
| 分類號 | 944.096 |
| 關鍵詞 | 中國繪畫; 明末清初; 日本; 朝鮮; Chinese painting; The sixteenth to seventeenth centuries; Japanese painting; Joseon dynasty; |
| 語 文 | 中文(Chinese) |
| 中文摘要 | 十六至十七世紀的中國畫壇發展出許多重要的繪畫理論,鄰近的日本與朝鮮兩國長期受到中國文化的影響,理當十分清楚這些理論與實際發展狀況。受限於明代的海禁與清初的閉關自守,原有的正式外交關係趨於地下化,而文化的交流亦應受此牽連。然而從事實來看,不僅三方面交流不斷,並在中國繪畫界的刺激下形成了中、日、朝更進一步的發展。 |
| 英文摘要 | During the sixteenth to seventeenth centuries, there were many important theories for painting developed in . Due to geographical conditions, both and had long been influenced by Chinese culture and were surely aware of these theories as well as the circumstances. After 1522, owing to the ban on international maritime trade in the Ming Dynasty and policies against open trade in the Ching Dynasty, activities conducting official interrelations with foreign countries became confidential, and cultural communication would have been influenced. However, it seems that the Sino-Japan or Sino-Korean cultural developments did not therefore stop. In addition, such conditions, which were stimulated by Chinese paintings, contributed to further developments among China,Japan and Korea. |
本系統中英文摘要資訊取自各篇刊載內容。