日本江户时代的民间艺术形式浮世绘运用了大量中国题材，所存作品数量繁多，且不乏名作。浮世绘多采用“见立（見立て）”手法对中国题材进行了创新。本课题以中国题材的日本浮世绘为研究对象，分析其运用中国题材“见立”手法的美学结构和文化内涵。本研究的重要结论是：

1、阐明了“见立”手法和“见立绘的”概念。江户时代实现“雅俗融合”的方法就是“见立”手法的运用。通过“见立”手法，把憧憬的经典场景与江户时代日常生活结合起来，体现了江户百姓积极创造和享受文化生活的智慧。对见立绘“表-里”、“雅-俗”双重结构的阐明是进一步解读各种题材见立绘的基础。

2、“见立”手法的应用使同一题材在中日两国产生了表现上的差异。对四个代表性中国题材“寒山拾得”、“佛祖涅槃”、“圯上敬履”、“潇湘八景”进行分析，梳理出随着时代变迁厘清中国题材在日本逐渐本土化的过程的同时，总结出两国思维和审美的不同倾向。总体而言，中国题材在浮世绘中呈现出从上而下、由雅至俗的日本本土化过程；中国题材通过“见立”手法的表达实现了日本本土化。

3、通过对中国题材变化深层原因的解读，加深对浮世绘作品与江户时代关系的理解。“见立”这种集知识性、趣味性、古典性、时代性为一体的艺术表现手法的形成，与江户时代“雅俗融合”的社会背景，追求“洒落”、“粋”、“通”的审美意识密不可分。每个题材变迁的背后与江户时代政治、经济、思想、文学、艺术各个方面紧密相关。

Ukiyo-e, a folk-art form in Edo period of Japan, used a large number of Chinese themes (Gadai). Mitate parody was a device often employed for innovation of Chinese theme. This paper takes Japanese ukiyo-e on Chinese themes as the research object, and analyzes the structure of Mitate-e and cultural background. Result can be summarized as follows:

1.      Mitate parody was a way to realize the integration of elegance and vulgarity in Edo period. The understanding of the dual structures of Mitate-e is the basis for further understanding of various themes.

2.      The usage of Mitate makes the same theme different in expression between China and Japan.  Four typical Chinese themes are analyzed, including Hanshan and Shide, the Buddha nirvana, Zhangliang and Huangshigong, and Eight views of Xiao-xiang. In general, Chinese themes in ukiyo-e show the process of Japanese localization from the top down, from the elegant to the vulgar. Chinese themes have completely realized Japanese localization under the expression of Mitate parody.

3.      The change of each theme is closely related to the political, economic, ideological, literary and artistic aspects of the Edo period. The interpretation of Mitate-e should not be confined to paintings, but should be related to other fields in the Edo period, so as to achieve a more accurate and comprehensive understanding of this cultural phenomenon.