張夢徵《青樓韻語》研究
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2015
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《青樓韻語》出版於萬曆四十四年（1616），內容包含妓女所寫的詩詞、寫給男性讀者的嫖妓竅門和精美的十二張插圖。書中雖列有兩位編者，但本文從序言的描述、目錄和內文對照後的不合理處，以及妓女詩詞的題贈對象，釐清兩位編者的分工和彙編流程可知，張夢徵才是書中佔有主導地位的人。原先是由張夢徵先彙集了妓女詩詞，另一編者朱元亮所負責的嫖妓竅門是事後才加入，最後再由張夢徵將妓女詩詞、插圖編入嫖妓竅門中。仔細分析張夢徵在《青樓韻語》中最先收集的妓女詩詞和精心繪製的插圖，解析圖文之間的互動，才能更適切地解讀《青樓韻語》。
經過本文解讀後發現，張夢徵利用了過往經書的彙編體例，將嫖妓竅門《嫖經》作為《青樓韻語》的綱領，並讓妓女創作的詩詞和自己所繪製的插圖羅列在經文後。張夢徵很可能是利用讀者閱讀書頁時的前後翻找，讓讀者在瀏覽過程中辯證男性／女性、嫖客／妓女多重的視角。張夢徵的案例，將能補充書籍版畫編排圖文的過程，並更進一步說明繪稿者是如何藉由書中插圖，傳達己意。
另一方面，本文在梳理張夢徵的繪稿風格時也自張夢徵的家世、居住地釐清了他的版畫風格來源。張夢徵家世代居於浙江杭城中心處「弼教坊」，該地是明代貢院的所在地，因此四周環繞著書肆和古董攤商。由於該地離杭州港也不遙遠，當地更是多有外國人來往走動。從張夢徵的家世和活動地點已經可以嗅出張夢徵極可能接觸到來自西方的視覺物品，在了解張夢徵父親張堯恩的交遊、繪畫風格時更意外的發現，其父張堯恩對蘇州風格和西方繪畫應該並不陌生，甚至將該風格運用於自身的創作。從張夢徵繪稿的《青樓韻語》和《東西天目山志》中則可清晰地見到張夢徵承繼父親風格，在作品中可見蘇州風格，並有許多細節與低地國的銅版畫十分相似。
The book Chinglou yunyu青樓韻語 was published in 1616. Chinglou yunyu has the verse works by the prostitutes of Tsin to Ming dynasties which were collected by Chang Meng-Cheng. And Chang Meng-Cheng also painted twelve illustrations attached. Chu Yuan-Liang gave the explanatory notes are included afterwards, which is based on the content of a former publication, Piaojing. Chinglou yunyu has various characteristics. It sustains the practicability of Piaojing and carries the banter and the love to beauty of literati. It has been discussed in the research areas through the brothel phenomenon of late Ming dynasty. However, no further study has been conducted about the twelve illustrations. From the preface and postscript of the book, the role of Chang Meng-Cheng in the book is indicated. By comparing the text and illustrations, the relationship between the text and illustrations, the roles of illustrations, and Chang Meng-Cheng’s intention of publishing the book can be further studied. Who are the readers the book published for? What are the concepts that Chang Meng-Cheng wanted to express? These are the key points of this research to focus on.
The book Chinglou yunyu青樓韻語 was published in 1616. Chinglou yunyu has the verse works by the prostitutes of Tsin to Ming dynasties which were collected by Chang Meng-Cheng. And Chang Meng-Cheng also painted twelve illustrations attached. Chu Yuan-Liang gave the explanatory notes are included afterwards, which is based on the content of a former publication, Piaojing. Chinglou yunyu has various characteristics. It sustains the practicability of Piaojing and carries the banter and the love to beauty of literati. It has been discussed in the research areas through the brothel phenomenon of late Ming dynasty. However, no further study has been conducted about the twelve illustrations. From the preface and postscript of the book, the role of Chang Meng-Cheng in the book is indicated. By comparing the text and illustrations, the relationship between the text and illustrations, the roles of illustrations, and Chang Meng-Cheng’s intention of publishing the book can be further studied. Who are the readers the book published for? What are the concepts that Chang Meng-Cheng wanted to express? These are the key points of this research to focus on.
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張夢徵, 青樓韻語, 朱元亮, 嫖經, 杭州版畫, 武林版畫, 西洋畫風, 銅版畫, Chang, Mang-Cheng, Chinglou, Yun-Yu, Piaojing