摘要
晚明和清代前中期是古代戏曲商业出版史上最为发达的两个时期,各书坊为了在激烈的竞争中脱颖而出,非常重视戏曲刻本的板框样式、插图题材和多色套印的运用。两个时代的坊刻戏曲艺术设计因为朝廷禁令政策、书坊主的图饰观念、画工和刻工的参与程度、戏曲阅读的受众和文化思潮的差异而呈现出不同的特点。晚明至清中叶坊刻戏曲的艺术设计变迁过程中,涉及官方、出版商、画家、刻工和读者等各色人物,他们相互影响,共同推进了戏曲的刊印与传播。
The late Ming Dynasty and the early and middle Qing Dynasty are the two most developed periods in the history of ancient opera commercial publishing.In order to stand out in the fierce competition,the bookshops attach great importance to the use of frame patterns,illustration themes and multi-color overprinting.The artistic design of the local opera in the two times has different characteristics because of the forbidden policy of the court,the concept of the picture decoration of the bookseller,the participation degree of the painter and the engraver,the audience of the opera reading and the cultural trend of thought.From the late Ming Dynasty to the middle of the Qing Dynasty,the artistic design of opera printed by bookshops involved officials,publishers,painters,engravers and readers.They influenced each other and jointly promoted the publication and dissemination of opera.
作者
赵林平
ZHAO Lin-ping(Journal Editorial Department of Yangzhou University,Yangzhou,Jiangsu 225009)
出处
《艺术百家》
CSSCI
北大核心
2020年第3期196-202,共7页
Hundred Schools In Arts
基金
2016年度国家社会科学基金艺术学青年项目“晚明至清中叶戏曲的商业出版研究”(项目编号:16CB147)阶段性成果之一。
关键词
晚明至清中叶
书坊
戏曲
板框
插图
艺术设计
from the Late Ming Dynasty to the Middle of the Qing Dynasty
Bookshops
Opera
Frame
Illustration
Art Design
