Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/102326
Title: 二十回本《三遂平妖傳》版畫研究
A Study on the Woodblock Illustrations in Twenty-Chapter Edition of The Three Sui Quash the Demons’ Revolt
Authors: 林麗江
Lin, Li-chiang
黃馨平
Huang, Hsin-Ping
Keywords: 杭州版畫
金陵版畫
區域風格
三遂平妖傳
王慎修
劉希賢
Woodblocks prints of Hangzhou
Woodblocks prints of Nanjing
Regional style
The Three Sui Quash the Demons’ Revolt
Issue Date: 2019
Abstract: 《三遂平妖傳》是明代第一篇神魔小說,有二十回本與後來馮夢龍增補而成的四十回兩種系統。二十回本《三遂平妖傳》是目前最早的一個版本,由羅貫中所著,王慎修編纂,劉希賢刻圖,不僅劇情光怪陸離、跌宕起伏,還擁有三十張風格特別的精美插圖因而受到關注,被認為融合了杭州版畫與金陵版畫兩地特色。本論文便是以二十回本《三遂平妖傳》為研究對象,以各種面向去切入,圍繞作品來討論版本問題、編輯製作的過程、出版狀況、圖文關係以及風格溯源,希望能夠重新檢視二十回本《三遂平妖傳》在明代版畫史裡的位置。 為了理解二十回本《三遂平妖傳》的製作,處理出版的問題,從分析敘文出發,確立訂年、版本與製作地點、製作出版過程等。在馮夢龍出版的四十回天許齋本、墨憨齋本的插圖中,會發現許多構圖被沿用的現象,比較三種版本的插圖彼此之間承襲關係,更能凸顯二十回本《三遂平妖傳》的編輯特色,也觀察從萬曆到天啟、崇禎年間小說選圖喜好的轉變。對於插圖風格的來源,須先釐清補刻的問題與刻工的影響,再處理二十回本《三遂平妖傳》風格的來源,比較同時期的杭州版畫與金陵版畫,討論是否融合了兩地風格。聯繫自南宋以來杭州地區優秀的繪畫傳統,到明代繼承了畫院風格,二十回本《三遂平妖傳》版畫帶有強烈的繪畫元素,也進而影響後來的杭州版畫,「繪畫性」成為風格討論的重要元素。二十回本《三遂平妖傳》作為杭州版畫裡萬曆前期的作品,不僅代表徽派流行前的杭州本土風格,也藉由個案的研究,對杭州區域風格的樣貌有更進一步的了解。 關鍵字:杭州版畫、武林版畫、金陵版畫、區域風格、三遂平妖傳、王慎修、劉希賢
The Three Sui Quash the Demons’ Revolt is the first shenmo novel (Gods and demons fiction) in Ming Dynasty, having original twenty chapters and forty chapters which were expanded by Feng Meng-long. The Twenty-Chapter Edition of The Three Sui Quash the Demons’ Revolt is the earliest version, written by Luo Guanz-hong, edited by Wang Shen-xiu, and carved by Liu Xi-xian. It has magnificent stories and thirty illustrations with an exquisite style which is considered as a combination of Hangzhou and Nanjing styles. The intention of this thesis is to discuss the Twenty-Chapter Edition of The Three Sui Quash the Demons’ Revolt in different aspects, including the edition issue, the process of the illustrations making, the publishing, the bond between the illustrations and the text related to them, and the track of the style.For the purpose of understanding more about the making process, reading and analyzing the prologue could help us set the publishing year and area. One can easily find out that the compositions of the illustrations collected in Feng Meng-Long’s edition follows the pattern shown in the earlier Twenty-Chapter Edition. Thus, by comparing these three versions with one another, we’re able to distinguish differences between them such as the highlight, composition and the style of illustrations. Because of Feng Meng-long’s forty chapters editions followed the early Twenty-Chapter Edition’s illustration composition, all the three editions’ comparison is a grate material to emphasize individual characteristics of making illustration. Twenty-Chapter Edition’s illustrations represent the style in early Wanli Hangzhou. Because of having strong painting-tradition in Hangzhou, the style of the Twenty-Chapter Edition of The Three Sui Quash the Demons’ Revolt can be traced back to Southern Song painting. Also, when discussing woodblocks prints of Hangzhou, “Painting” is always an important element. All in all, we expect the Twenty-Chapter Edition of The Three Sui Quash the Demons’ Revolt could be able to redefine the position in woodblock printing history, this thesis made a further step in researching regional style of Hangzhou. Keywords: Woodblocks prints of Hangzhou, Woodblocks prints of Nanjing, Regional style, The Three Sui Quash the Demons’ Revolt.
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=%22http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G060367008T%22.&%22.id.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/102326
Other Identifiers: G060367008T
Appears in Collections:學位論文

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