林麗江鄭婷婷2019-09-052013-2-212019-09-052012http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0698670132%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/102346湯顯祖（1550-1616）《牡丹亭還魂記》（下稱《牡丹亭》）完成於萬曆二十六年（1598），成書之後，短時間內出現了大量的評點本、改訂本，足見其流傳之廣泛，及受歡迎的程度。雖然文學上的討論很多，關於《牡丹亭》版畫的研究卻幾乎沒有。其中，刊刻於萬曆四十五年（1617）由不明書坊刊行的《牡丹亭還魂記》，該刊本中除了湯顯祖的序言外，另收有一篇石林居士所撰的序，下以石林居士序本稱之。石林居士序本不僅為現存《牡丹亭》刊本中較早者，在文學研究上，更因被認為最接近湯顯祖作品的原貌而受到重視。 石林居士序本插圖繪刻優美，敘事雅致，是明代萬曆時期十分精美的版畫，加上留下了不少修本、覆刻、翻刻本，更顯示出該本廣受時人歡迎。另外十分特別的是，全書四十幅插圖中有三十幅留下了共計七位刻工的落款，根據《虬川黃氏宗譜》（1830）他們為來自歙縣虬村黃姓刻工，分別是第二十六世的黃德修（1580-1652）、黃應渭（1583-？）、黃應義（1593-？），與第二十七世的黃一楷（1580-1622）、黃一鳳（1583-?），以及未載於宗譜的黃翔甫、黃端甫。由於材料的特殊性，使我們得以聯繫到可能的黃氏刻工團隊，藉由考察此團隊的情況，或可解開過去在徽派版畫研究中較難處理的問題，特別是刻工團隊工作的情況，以及畫稿與刻工的關係。借助釐清畫稿與刻工的關係，能有效解決過去論述徽派版畫風格的困難，更因為工作團隊具有流動的特性，在考察版畫風格時，可以跨越因專注某區域研究而忽略他地的侷限。Tang Xianzu (1550-1616) wrote Peony Pavilion in the year of 1598. After completing, many commented editions and adopted editions showed up in a short time, showing that Peony Pavilion disseminated widely and was popular among people at that time. Nowadays, there are a lot of discussions in literature. However there are nearly no researches talking about woodblock illustrations on Peony Pavilion. One of editions of Peony Pavilion published in 1617 by an unknown bookshop, the edition has two prefaces. The one embodied in almost every edition was written by Tang and another one was written by Shilin Jushi. The second preface can only be found in this edition and it will be called Shilin Jushi edition in the following content. Shilin Jushi edition is not only one of the earliest and exiting blocked-printed editions of Peony Pavilion, but also has been gradually focused because it has been regarded as the closest version to Tang’s original work. Both of the drawing and carving quality in the woodblock illustrations of Shilin Jushi edition are very delicate and the narrative is also very elegant. Furthermore, it still remains several re-print and re-cut edition today which reveals the popularity of Shilin Jushi edition. We noticed that the whole book has 40 illustrations and 30 of them were left signatures from 7 carvers who came from Huang Family of Qiu village in She country. According to Qiuchuan Huangshi Zongpu (the genealogy of Huang family in Qiuchuan), carvers from the 26th generation were Huang Dexiu (1580-1652), Huang Yingwei (1583-?) and Huang Yingyi（1593-?）and carvers from the 27th generation were Huang Yikai (1580-1622), Huang Yifeng (1583-?), and unrecorded Huang Xiangfu and Huang Duanfu. The uniqueness of material gives us the opportunity to find out the possible working group of Huang carvers. By observing the working situation of this group, perhaps we can answer the pending questions about Hui school woodblock illusrations in the past, such as how the working group function and the relationship between draft and carver, can discuss the style of Hui school woodblock illusrations clearly. Then we may eliminate the previous difficulty of depicting the style of Hui school woodblock illusrations. The previous researches used to focus on specific areas and excluded others. Due to the transferability of the group, now we may break the limitation while observing the style of woodblock illusrations.牡丹亭版畫徽派黃氏刻工丁雲鵬汪耕Peony Pavilionwoodblock illustrationshui schoolHuang carverDing YunpengWang Geng