插图版《聊斋志易图庸》,1886年出版:再版和仿制品

IF 0.1 N/A HUMANITIES, MULTIDISCIPLINARY
Alexander G. Storozhuk
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引用次数: 0

摘要

蒲松岭(1640-1715)的著名故事集《聊斋志异》的版本在19世纪数量众多,种类繁多。其中一个特殊的地方是1886年用大亨徐润(徐润,1838-1911)的资金印刷的平版版画;这个版本包含了大量的插图和专门写的诗歌插页。这幅平版画被命名为《相竹聊斋志异》(《中国工作室的奇谈》),并在19世纪末至20世纪初的中国版本中引发了大量的模仿和仿冒。有时,它们做得非常漂亮,与原作几乎无法区分;有时他们刻意表现出自己的个性,成为具有自己审美特点的印刷艺术的自主作品。随着20世纪的开始,出现了一些排字印刷版本,但它们的设计要么重复,要么非常接近上海原版。这一传统非常顽强,所以当代版本继续复制1886年的收藏。本文的目的是概述1886年原版平版版画的主要特点及其主要后来的重印,直到20世纪30年代和他们的重要归属法典的特点。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Illustrated edition Liao Zhai Zhiyi Tuyong, published in 1886: reprints and imitations
Editions of the famous story collection “Liao Zhai zhi yi” (聊齋志異, Strange Tales from a Chinese Studio) by Pu Songling (蒲松齡, 1640–1715) were numerous and various in the 19th century. A special place among them holds the lithograph, printed in 1886 on the funds of tycoon Xu Run (徐潤, 1838–1911); the edition contains an abundant collection of illustrations and specially written poetic inserts. The lithograph was titled “Xiangzhu Liao Zhai zhi yi tuyong” (詳註聊齋誌異圖詠, Illustrated and Commented “Strange Tales from a Chinese Studio”) and begot a great number of imitations and fakes among Chinese editions of the end of the 19th — beginning of the 20th centuries. Sometimes they were done so beautifully that happened to be practically undistinguishable from the original; sometimes they deliberately demonstrated their individuality, having become autonomous works of printing art with aesthetic peculiarities of their own. Along with that beginning of the 20th century generated a number of typographically printed editions, but their design either repeated or stood very close to the original Shanghai publication. The tradition happened to be very tenacious, so that contemporary editions continue copying exterior of the 1886 collection. Purpose of this article is to outline the main features of the original 1886 lithograph and its major later reprints until 1930s and their significant for attribution codicological peculiarities.
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CiteScore
0.20
自引率
50.00%
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