浮绘是在江户中期元文四年（1739）出现的一种浮世绘类型，由于它看似附着了西方透视技法，被视为第一期传入日本的洋风画。但这“第一期”又意味着，它所使用的透视关系实际上并不正确。本稿中心是考察浮绘传播到东方后，东方画家对此的反应，即画家们对这种风格的接受程度，以及如何运用。在此本文需要清楚两点，第一，浮绘的流变。笔者认为浮绘的雏形是拉洋片箱中的背景画，其箱中观看的方式，让观者获得以往不曾有的视觉效果感受，因而受到江户时代的民众欢迎。浮绘正是基于特殊视觉效果而发展，但是随着日本画家们对西方画法的不断研究，浮绘的“不正确的透视”被不断修正，甚至被批判，这种风格最终在1770年间消失了。第二，绘师们对浮绘的认识，在如何变化。为此，将例举不同时期的各位绘师们的典型作品，从中分析他们对浮绘风格的反应。到底画家眼中的浮绘，是怎么的一抹风景呢？本文认为，早期的绘师看重浮绘的特殊视觉而不断将其表现到作品中，但随西方画法不断渗透，浮绘的特殊视觉成为它被画师批判的理由。实际上这也体现了东方绘师对西方风格的反应在不断地变化。本文是对西画东传的课题作试论，但由于暂未能掌握西画制图原理，关于西方画法部分的讨论不成熟，而对这部分内容的补充，也成为笔者洋风画研究课题中的重要一步工作，期待真正把握透视关系时，再次完善本选题。

Uki-e (浮絵, floating picture), a genre of Ukiyo-e in Japan, is developed from Ganbun 4th(1739), mid-Edo period. It is considered to be “Early Western-style Painting” for the application of Western perspective technique. “Early” in this context, however, implies that perspective technique in Uki-e is not fully developed. This paper explores Japanese artists’ response to the arrival of Uki-e, their acceptance and use of the style. Two points must be clarified on this theme. The first point is the development of Uki-e. The author holds that the antecedent of Uki-e was the background painting in the device of the peeping, which was popular in Edo period for the effect it brought to the audiences by looking into a box. Uki-e was developed upon the special visual effect, but with their ceaseless study of western art, Japanese artists constantly revised or even criticized the “improper” perspective in Uki-e. As a result, this kind of style died down in the 1770s. The second point is how the response of Japanese artists to Uki-e has changed over the period of time. To illustrate this point, typical works of various artists in different periods will be mentioned. And accordingly, analysis of artists ' reaction to the style will be made. How the artists artists ’opinion towards western-style painting was changing. This paper discusses the eastward spread of western paintings. It is regretful that the author does not yet have a thorough understanding of the drawing method in the west to give a deep discussion on western-style painting. To enrich contents of painting technique in the West, therefore, becomes the next crucial step in further research. Improvement of this thesis shall come when adequate knowledge in perspective is gained.