繪刻兼善:劉素明與明末版畫的製作

Abstract

劉素明為明末時期繪刻兼善的版畫工匠，出身建陽，亦到金陵、蘇州等江南地區刊刻。本文透過劉素明來看明末的版畫是如何被製作出來的，並看版畫刻工、繪稿者是如何參與其中。同時，透過流寓各地的劉素明來看此時不同區域的版畫書籍出版狀況。 首先梳理劉素明曾參與製作的版畫書籍，透過留有劉素明款的作品，選取劉素明所繪稿的版畫，分析其版畫特色和成稿方式。檢視劉素明刊刻的作品後，發現到劉素明早年以刊刻師儉堂的版畫為主，故師儉堂對於劉素明刻工的養成勢必非常重要。大量檢視師儉堂刊刻版畫後，發現到師儉堂版畫多有借用杭州所刊版畫的情形，反映出此時建陽與杭州二地的書籍交流。從劉素明版畫生涯軌跡來看，劉素明於明天啓後轉至江南刊刻《三言》版畫，透過劉素明可以看到《三言》版畫的製作，如版畫工匠面對畫稿時可能面對的各種狀況，反映出明末版畫製作的工序遠比現在所理解的更為複雜。透過劉素明的案例，可以看到明末版畫的製作逐漸有標準化、重複套用並可重複生產的成稿模式。Liu Suming, a printmaker good both at woodblocks carving and painting in Late Ming Dynasty (17th century). He was born in Jianyang and worked in Jiangnan area such as Nanjing and Suzhou. This thesis focuses on Liu Suming to see how the woodblock illustrations were produced in Late Ming, and how the printmakers and drafters participated in the process. Furthermore, through Liu Suming, who had been traveled and worked in different places, the thesis examines the publication environment of this period. Firstly, this thesis sorted out the publications in which Liu Suming had participated by filtered out the prints with his signature, and analyzed the characteristics of his woodblock illustrations and way of drafting. After the examination of the works which Liu Suming participated in, it is fact that Liu Suming mainly engaged in Shijian Tang in his early years. Therefore, the fact indicates that Shijian Tang had played an important role ate Liu’s preliminary stage. Secondly, this thesis reviewed a lot of woodblock illustrations Shijian Tang had published, and found out many which were borrowed from Hangzhou prints, that indicated the fact of book trade between Jianyang and Hangzhou in 17th century. Finally, back to Liu Suming’s printmaking career, he traveled to Jiangnan area to engrave the Feng Menglong’s Sanyan illustrations in 1621-1627. Through Liu’s wroks in Sanyan, we can observe the creating procedures of illustrations in this serial publication, which includes various situation a printermaker might encounter when making. Liu Suming’s situation reflects the process of woodblock prints making in that time was far more complicated than what is now known to us. From Liu Suming case, we can assume that the production of woodprints in 17th century had gradually become standardized, by repeatedly applying and re-producing of module system.