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“姑苏版”这个概念是日本艺术史家黑田源次在《支那古版画图录》的序言中首先提出的,因这部分年画现在大都藏在日本,国内并不多见,所以黑田源次先生在研究了这部分作品后,给他下了这样一个定义：“姑苏版是指在西洋铜版画影响下产生的作品,它是中国版画史上极为罕见的具有优秀技术的大型版画,特别要引起重视的是,它能确切地把握西洋铜版画中所得到的意象,把它溶入传统中国绘画的主题之中,并以自然而然的形式表现出西洋绘画的特征。”黑田源次先生提到了西方绘画方式对这部分作品的影响,指出了他和传统版画的不同。因为这部分作品出现在苏州,又是在桃花坞木刻年画兴盛的清代,所以我们很容易把它和桃花坞年画混为一谈。实际上,“姑苏版”版画和桃花坞木刻年画有许多的不同。
The concept of “Gusu edition” was first proposed by Japanese art historian Kuroda in the preface of “Chronicles of Engraving” because most of these New Year’s pictures are hidden in Japan and rare in China. Therefore, After studying this part of the work, he was given the following definition: “Gusu refers to the works produced under the influence of Western copper engravings, which is a very rare large-scale lithograph with excellent techniques in the history of Chinese lithography, with special attention Is that it can accurately grasp the image obtained in the western copper engraving, dissolve it into the theme of traditional Chinese painting, and show the characteristics of Western painting in a natural way. ”Mr. Kuroda referred to Western painting methods The impact on this part of the work points out the difference between him and traditional prints. Because this part of the work appeared in Suzhou and was also a flourishing Qing Dynasty at the Taohuawu Woodcut New Year Picture, we can easily confuse it with the Taohuahua New Year pictures. In fact, there are many differences between “Suzhou Edition” prints and Taohuawu Woodcut New Year paintings.