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自宋代以来,版刻古器物图谱一直是记录古物形制的最重要手段,但在清代中叶以后,情况发生了变化,全形拓技术的出现使金石研究者获得了更为真切感人的图像。黑白两色拓片夸大的器物本身的质感,其沧桑、厚重之美完全超越了版刻古器物图形。摄影术和现代出版印刷术出现之后,古物拓本的图像纪录功能开始渐渐淡化。但是,全形拓本身的艺术价值却得到新的重视,其复杂的制作技术,及天然的历史气息让它成了极为特殊的艺术品。
Since the Song Dynasty, engraving artifacts has always been the most important means of documenting ancient antiquities. However, the situation changed after the middle of the Qing dynasty. The emergence of full-width excavation technology enabled the researchers to obtain more realistic images. Black and white rubbings exaggerated the texture of artifacts itself, its vicissitudes, thick beauty completely beyond the engraved ancient artifacts graphics. After the advent of photography and modern publishing and printing, the image recording function of antiquarian works began to fade. However, the whole shape extension of the art value itself has been given new attention, its sophisticated production technology, and natural history makes it a very special art.