明代初中期福建《剪燈餘話》版畫研究

Abstract

本文以明代初中期福建地區出版的《剪燈餘話》為主要研究對象，透過分析三本個版本：天理本《新刊剪燈餘話》、內閣文庫本《新刊全相剪燈餘話》、中國國圖本《新增全相剪燈餘話大全》，並加上相近時期或不同地區的作品對比，梳理較少被仔細討論，此時期的福建版畫的製作。其中將較少被提及的天理本《新刊剪燈餘話》一同納入分析中，整理三本個版本的特色、書籍內容構成，與圖文敘事手法，譬如場景選擇或文本之外的圖像等。 接著將三本《剪燈餘話》與其他的作品對比，將這些版畫以一個群體來討論，以版式作為切入點，主要分成兩個群組來看。一個以上圖下文版式為主的傳統群組，包括《全相平話五種》、《花關索傳》、《奇妙註釋西廂記》的觀察。對比於另一個以單面整幅版式為主的新興群組，包括《新編金童玉女嬌紅記》、《說唱詞話》的討論。透過兩個群組的比較，可以較清楚分辨此時期版畫製作的變化。對於畫面設計、描述故事的方式，或者相互參照抄襲的情況，有更深入的認識。三本《剪燈餘話》之間的關聯，反映出明初中期福建地區版畫的縮影，也證明此時期版畫作品有更多研究的可能。

This paper takes Jian Deng Yu Hua published in Fujian in the early and middle Ming Dynasty as the main research object, and analyzes three editions: Tenri Central Library edition Xin kan Jian Deng Yu Hua, National Archives of Japan edition Xin kan quan xiang Jian Deng Yu Hua, National Library of China edition Xin zeng quan xiang Jian deng xin hua da quan, together with the comparison of works in similar period or different regions. In order to sort out the production of Fujian printmaking in this period, which is less carefully discussed. Among them, the little-mentioned Tenri Central Library edition Xin kan Jian Deng Yu Hua is included in the analysis, and the features, book content composition, and narrative illustration of the three editions, such as scene selection or images outside the text, are sorted out. Then compared the three editions of Jian Deng Yu Hua with other works, take the format as the entry point, and divide them into two groups. One of the group is traditional group which mainly based on the format of pictures-above-text (shang tu xia wen), including the observation of Quan xiang ping hua wu zhong, Hua Guan Suo zhuan, and qi miao zhu shi Xi xiang ji. In contrast, another new group with single-sided full-piece format, including the discussion of Xin bian Jintong Yunü jiao hong jiand Ming Chenghua shuo chang ci hua. Through the comparison of the two groups, we can clearly distinguish the changes of printmaking in this period. Have a deeper understanding of how illustration are designed, how stories are told, or how cross-references are copied. The relationship between the three books of Jian Deng Yu Hua reflects the miniature of Fujian printmaking in the early and middle Ming Dynasty, and also proves the possibility of more research on woodblock printmaking works in this period.