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汪廷讷环翠堂刊印的书籍在晚明印刷史中占有相当耀眼的位置,其原因无疑在于书中所附大量精美的木刻版画。但由于刊刻信息的缺失,以及对于书籍出版流程的忽视,有关汪氏出版业的研究往往语焉不详,甚至自相矛盾。长期以来,环翠堂都被看作商业印刷的重镇和“徽派”版画的代表,这一论断塑造了对于晚明坊刻的某种固化认识。事实上,汪廷讷对于版画印本的功能有着相当个人化的构想,其中比较具有代表性的当数《人镜阳秋》。本文尝试透过这部奇特的印刷品,来探察汪廷讷对于版画图像的使用,以及他如何借助刻书这一行为来实现自己的目的。
The books printed by Wang Ting-na Huancui Tang occupy quite a dazzling position in the printing history of the late Ming. The reason for this is undoubtedly the large number of exquisite woodblock prints attached to the book. However, due to the lack of published information and the ignorance of the publishing process of books, the study of Wang’s publishing industry is often not clear or even contradictory. For a long time, Huancui Tang was regarded as the center of commercial printing and the representative of the “Huizhou School” prints. This thesis shaped some kind of solidification understanding of the late Ming Dynasty. In fact, Wang Tingneng has quite a personal idea of the function of the printed prints, of which the more representative is the number of people who look at the sun. This essay attempts to explore the use of printmaking by Wang Tingne through his peculiar prints, and how he can achieve his purpose through the practice of engraving books.