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|Other Titles: ||The study of illustrations in woodcut printed "Xi Xiang Ji" Chinese opera in Ming dynasty|
|Authors: ||林惠珍;Lin, Hui-chen|
|Keywords: ||西廂記;版畫;閔齊伋;圖像學;戲曲文獻;出版文化;Xi Xiang Ji;Woodcut Prints;Chi-gi Ming;Lconology;Literature of Chinese opera;Print Culture|
|Issue Date: ||2010-01-11 05:02:02 (UTC+8)|
”Xi Xiang Ji ”is the composition based on the legendary novel”Huei Chen Ji” by Chen Yuan in Tang Dynasty.After being modified by number of compositors, Shi-Fu Wang in Yuan Dynasty re-contractured, fertilized and finally turned the story out to be ”Xi Xiang Ji ”, a love story musical.Hundreds years after, ”Xi Xiang Ji ” was being played constantly on the stage, and printed copies were also published continually. The purpose of the thesis is to discuss the relationship between the image of Chinese Opera in Woodcut Prints, Chinese Opera performing and the literature based on ”Xi Xiang Ji ”Chinese Opera in Woodcut Prints in Ming Dynasty.
The thesis will focus on the below points through the comparison of illustrations from different copies of ”Xi Xiang Ji ”:
The causes of making artwork of ”Xi Xiang Ji ”and background.
The phenomena appeared due to the existing numbers of Chinese Opera in Woodcut Prints during Ming Dynasty. What the author cares are:
1. The popularity of Chinese Opera in Ming Dynasty affected the publishing direction of publishing firm.
2. The hard competition of publishing business would push publishers to design different woodcut prints to attract readers.What was the relationship between the society, Chinese Opera and publishers? Did they affect each other?
To classify the existing woodcut prints of ”Xi Xiang Ji ”systematically.
There are many types and styles of woodcut prints of ”Xi Xiang Ji ”during the hundreds of years, which almost covered all the branches of ancient woodcut prints. The author sorts out the available woodcut prints of ”Xi Xiang Ji ” regarding to different dynasties and analyze them in order to find out the difference between, which may indicate the uniqueness of each version.
To disclose the meanings of images through different ways.
Among all the illustrations of ”Xi Xiang Ji ”, Chi-gi Ming’s 21 color paintings were chosen to decode the meaning of image. The paintings with outstanding printing, carving, composing and coloring work were on the peak of Chinese woodcut prints history. The thesis would explain the relationship between each painting and script by iconology from Erwin Panosky and try to find out the deeper meaning and value of them.
To deeply discuss the relationship between woodcut Prints and Chinese Opera performing.
Woodcut Prints is never independent from Chinese Opera. Although we can not directly prove the composing of woodcut prints is the re-appearing of stage performing, but the influence between each other can still be tracked through some clues from the images. The thesis would try to point out the footprints of stage performing and discuss the relationship between images and Chinese Opera performing, which may hopefully offer a new angle for Chinese Opera studying.
In the past, the research of woodcut Prints stayed in collecting and sorting stage, or people only took them as an art which was analyzed from art appreciating.The research tries to put the woodcut prints of ”Xi Xiang Ji ” in Ming Dynasty under the frame of document publishing to go through the third level of image studying- the explanation of iconology and check the illustrations of ”Xi Xiang Ji ” from different points of view. Finally, the author would like to analyze the influence of Chinese Opera development in Ming Dynasty to woodcut prints making of ”Xi Xiang Ji ” and discuss the communication between printing copies, woodcut prints and performing. Hope the culture meaning and value of illustrations from ”Xi Xiang Ji ” can be deeply understood in order to indicate the key position of illustrations in Chinese woodcut prints and publishing history though the above study.
|Appears in Collections:||[漢語文化暨文獻資源研究所] 學位論文|
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