明刊《西廂記》戲曲版刻插圖研究

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Title:	明刊《西廂記》戲曲版刻插圖研究
Other Titles:	The study of illustrations in woodcut printed "Xi Xiang Ji" Chinese opera in Ming dynasty
Authors:	林惠珍;Lin, Hui-chen
Contributors:	淡江大學漢語文化暨文獻資源研究所碩士班陳仕華;Chen, Shih-hua
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
Date:	2008
Issue Date:	2010-01-11 05:02:02 (UTC+8)
Abstract:	《西廂記》是在唐人元稹傳奇小說《會真記》的基礎上，經過歷代戲曲家不斷的改編、創作而成，直到元代，王實甫重新加工、豐富並提煉了崔張故事原有的內容，完成了《西廂記》這齣以愛情為主軸的戲曲。之後的數百年間，《西廂記》在舞台上長演不衰，文本刊刻風行不絕。本論文以明代刊刻的《西廂記》戲曲版畫為研究對象，討論戲曲版畫的圖像與戲曲表演、戲曲文學間的關係。本論文希望能透過多部的《西廂記》插圖分析比較，就下面幾個方向作深入的研究：一、繪製《西廂記》插圖的因素及社會背景現存的明代戲曲版畫數量之多所反映的現象，筆者所關注的是：一、明代戲曲的興盛影響了刻書坊的出版方向。二、出版業的欣欣向榮使得書坊間的競爭更為激烈，各家書坊開始嘗試設計不同形製的版畫，以贏得讀者的青睞。筆者欲探討社會、戲曲、出版三者之間的關聯為何？三者之間是否互相影響？二、對於現存的《西廂記》版畫進行有系統的整理《西廂記》插圖版畫橫跨時間的寬度之大，風格樣式之多，幾乎涵蓋了古版畫的各個流派。筆者將能見的《西廂記》版畫依時代進行分類，並加以分析探討，希望能比較出不同插圖版本的差異性，並突顯出各種版本的獨特性。三、以不同的方式來詮釋圖像的意涵筆者在眾多的《西廂記》插圖中，選擇了閔齊伋繪刻的《西廂記》彩圖進行圖像詮釋，這二十一幅彩圖可說是中國版畫史上的巔峰之作，無論是印刷、刻工、構圖、色彩，都可說是前所未見的上乘之作，本論文欲以潘諾夫斯基（Erwin Panosky）圖像學的方法，來解讀每一幅插圖與戲文的關聯，企圖能從圖像中發掘出這套版畫更為深刻的意涵及價值。四、深入地探討戲曲版畫與戲曲演出的關係戲曲版畫絕不能獨立於戲曲之外來處理看待，雖然無法直接證明版畫的構圖是舞台表演的真實再現，但兩者互為影響仍是可從圖像中找出蛛絲馬跡，本論文將嘗試從《西廂記》版畫中找出舞台演出的痕跡，並從而探討圖像與戲曲搬演兩者間的關聯，希望能對戲曲研究提供一個新的角度。過去對於戲曲版畫的研究仍是停留在收集、整理的階段，或是將其視為藝術品，從藝術鑑賞的角度來剖析它。本研究嘗試將明刊《西廂記》版畫插圖置於文獻出版的框架之下，進行圖像研究中第三層次－圖像學的解釋，從多元的角度去審視明刊《西廂記》版畫插圖。最後，再剖析明代的戲曲發展對於《西廂記》版畫繪製的影響，並進而探討文本、版畫、演出三者間的交流。冀望透過上述的研究歷程，深入了解明刊《西廂記》版畫插圖的文化意涵與價值，藉以呈顯戲曲版畫插圖在中國版畫史與出版史上的關鍵地位。 ”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:	[Master's Program, Graduate Institute of Chinese Linguistics and Documentation] Thesis

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