2017年4月5日 星期三

韓中日所藏《皇華集》與東亞漢文學跨國交流

衣若芬:〈韓中日所藏《皇華集》與東亞漢文學跨國交流〉,《域外漢籍研究集刊》第14輯,2016年11月,頁283-296。
韓國首爾大學奎章閣韓國學研究院藏《皇華集》書影


摘要
《皇華集》是朝鮮宮廷收錄刊行自1450年至1633年,39位明朝使臣和300多位朝鮮文臣的唱酬作品集。《皇華集》的出版形式有單次出使即蒐集整理的單行本,以及統合全部25次出使的總集本。總集本的《皇華集》版本複雜而多樣,雖然近年已經有全備的《足本皇華集》問世,經由考察不同版本的總集式《皇華集》與其跨國傳播情形,仍可幫助吾人深入了解東亞漢文學之交流情形。
本文以韓國中央圖書館、奎章閣,中國國家圖書館,日本國立公文書館庋藏的總集式《皇華集》為例,檢視其內容,探析其來源。研究發現:《皇華集》依明使要求編輯出版,主要在韓國刊行,由後來出使的朝鮮使節帶去中國贈送明使和內府。也有朝鮮個人收藏的《皇華集》流入中國。日本所見《皇華集》乃經長崎唐船舶載售,或由朝鮮通信使贈予宗藩,並有江戶時代的手寫鈔本存世。
這些不同版本的《皇華集》顯示了多次的刊行實況,以及讀者的需求。《皇華集》所呈現的詩賦外交形態,成為東亞各國如朝鮮通信使、安南使、琉球使彼此互動的書寫典範。漢詩做為交流的主要文體,促成了中國編選《朝鮮詩選》、朝鮮編選《日東詩選》的特殊現象。

關鍵詞:皇華集。東亞。漢文學。詩賦外交。文化交流

Interchange of East-Asian Culture and Literature in Classical Chinese: A study of Huang Hua Ji

Abstract
Huang Hua Ji” is a collection of the literary work between 39 Ming Dynasty envoys and 300 over Joseon civil officials that the Joseon court collected from 1450 to 1633. The publishing form of “Huang Hua Ji” can be categorized into two types, namely singles and set. The singles are collected based on single trips, while the set are collected based on 25 times of diplomatic travels. There are various edition to the set, but the uncut version of “Huang Hua Ji” has been published in recent years, and it allows us to have a deeper understanding of the exchange of the literature in classical Chinese in East Asia.
This paper sorts the content and origin of the set collection of “Huang Hua Ji” from the National Library of Korea, Kyujanggak, National Library of China, National Archives of Japan. Research shows that “Huang Hua Ji” was edited and published based on the requirements of the Ming envoys, and are mainly printed and published in Korea, and are being brought to China by the Korean envoys as gifts for the Ming envoys and imperial court. Some personal collection of “Huang Hua Ji” also imported into China. The feudatory of Japan bought “Huang Hua Ji” from Chinese ships in Nagasakai.

These various versions of “Huang Hua Ji” depicted the situation of numerous publications and readers’ needs. Poetry and prose in diplomacy displayed by “Huang Hua Ji” became the written model for interaction among Joseon, AnnamVitnam and RyukyuOkinawa diplomatic missions. Literature in classical Chinese as a main style for interaction resulted in special phenomenon such as Chinese literati compile “Selected Korean Poems”, and Joseon literati to compile “Selected Japanese Poems”.

2017年3月21日 星期二

2017年 學術與文化講座

2017年 2月 24日,於香港城市大學


2017年

4月8日,新加坡紀伊國屋書店對談會:當圖像遇見文字

2月28日,香港城市大學中國文化中心演講:文圖學與城市生活

2月27日,香港城市大學中國文化中心演講:鴉片.香煙.成藥:二十世紀商業廣告文圖學

2月24日,香港城市大學中國文化中心演講:互聯網世界的文圖學

2017年1月27日 星期五

2017年1月24日 星期二

時間.物質.記憶─清代壽蘇會之文化圖景

(全文下載 download)

紀念蘇軾(1037-1101)生日的雅聚「壽蘇會」大約倡始於清代的宋犖(1634-1713)。宋犖購得宋槧《蘇東坡詩施顧注》殘本,命邵長蘅(1637-1704)、顧嗣立(1669-1722)等人校補,名為《施註蘇詩》。康熙39(1700),校補完竣,正值農曆1219日蘇軾生日,宋犖於蘇州率眾人拜祭,陳設蘇軾生前喜愛的食物為供品,張掛蘇軾畫像,與會者寫作詩文唱和,底定了後世壽蘇會的大致形式和規模。
乾隆38(1773),翁方綱(1733-1818)輾轉購得宋犖舊藏本宋槧《蘇東坡詩施顧注》,遂在農曆1219日蘇軾生日當天於京師舉行壽蘇會,此後終其一生,翁方綱至少主持了二十餘次壽蘇會,堪稱獨冠。比翁方綱稍晚,乾隆47(1782)起,陝西巡撫畢沅(1730-1793)在西安也與僚屬舉行過幾次壽蘇會,並將與會者的詩文集結成書。此後,壽蘇會成為歲暮消寒雅集的重要名目。
有別於一般年節的詩酒聚會,壽蘇會有明確的對象與目的,既是蘇軾研究史之一環;也顯示時代文風。壽蘇會儼然清代中葉以降,文藝創作和文物賞鑑的重要集體場域,呈現「綿延時間」、「展示物質」、「承傳記憶」的文化圖景。

《長江學術》2016年第4期,頁69-57。

Time, Material and Memories: The Cultural Scape of “Shou Su Hui” (Gathering for Su Shih’s Birthday Remembrance) in Qing Dynasty

I Lo-fen


  “Shou Su Hui”, a meaningful gathering for the remembrance of Su-shi’s birth, is likely to begin with Song Luo (1634-1713) from the Qing dynasty. Song Luo bought over fragmentary edition of Song dynasty “Su Dongpo’s Poem annotated by Shi Yuan Zhi and Gu Xi”, then ordered Shao Changheng (1637-1704), Gu Sili (1669-1722) et al. to make amendments and eventually had it named “Shi Zhu Su Shi”(Shi’s Annotation of Su Dongpo’s Poem). During Kang Xi years (1700), amendments were complete. On the nineteen of the twelfth lunar month, Su-shi’s birthday, Song Luo led the mass for a worshipping ceremony in Su Zhou. The ceremony had Su-shi’s favourite dishes as offerings, Su-shi’s portraits on display, and participants writing responsary literary works, marking the style and scale foundation of later “Shou Su Hui”.

  During Qian Long years, Weng Fang-gang got hold of Song Luo’s old copy of Song Qian’s “Su Dongpo’s Poem annotated by Shi Yuan Zhi and Gu Xi”, hence organized “Shou Su Hui” on Su-shi’s birthday at Beijing, and hosted at least 20times of this event in his lifetime. Not much later than Weng Fang-gang, Bi Yuan started and held “Shou Su Hui” for several times with his people in Xi An, and published the participants literary works into a book. Since then, “Shou Su Hui” became an important year-end event to fight the cold and gather the literati.  

  What makes “Shou Su Hui” differs from the usual literati gatherings with poems and wine, is that it has a specific goal and objective. Furthermore, it is a part of Su-shi’s research history and also displays the literary style of an era. Thus, we could say that “Shou Su Hui” in mid Qing dynasty collaborated the creation of arts and the study historical relics, presenting to us a cultural scape of “Long-lasting time”, “Revealing matterial” and “Inheriting memories”.  



2016年11月10日 星期四

玉堂天上:清宮舊藏明代「北京八景圖」新探



玉堂天上:清宮舊藏明代「北京八景圖」新探
(下載全文)

《故宮學刊》第16(北京:故宮出版社,20167),頁283-296

題名為明代畫家王紱(1362-1416)所繪之「北京八景圖」舊藏乾清宮,著錄於《石渠寶笈續編》(書成於1793)藏中國國家博物館,是現存最早描繪「北京八景」的畫作。「北京八景圖」依序畫「金臺夕照」、「太液晴波」、「瓊島春雲」、「玉泉垂虹」、「居庸疊翠」、「薊門煙樹」、「盧溝曉月」和「西山霽雪」八景。卷前引首有胡廣(1370-1418)永樂十二年(1414)十一月所作序文,序文提及「北京八景圖」有十三位文臣作詩112首,然今圖存詩不全,且缺畫家王紱題詩。
本文嘗試從韓國朝鮮時代木板覆刻古籍,重新探討此卷「北京八景圖」。韓國國立中央圖書館、首爾大學奎章閣、成均館大學尊經閣所藏,書名為《北京八景詩集》或《北京八景圖詩》,為海內外罕見,最為齊全的清宮舊藏「北京八景圖」相關詩文。根據曾棨(1372-1432)〈書北京八景詩後〉,此書為建陽令張光啟於1431年刊行。書後慶州府尹任從善跋文顯示,此書於1449年覆刻,時代早於收錄部分「北京八景圖」詩的《明一統志》(書成於1461)
研究發現:十三位永樂館臣詩篇乃扈從明成祖赴北京,為製造及附和鄒緝(?-1422)提議的「北京八景」而作,並非為「北京八景圖」寫的題畫詩。「北京八景圖」依照的是王紱的詩內容,與楊榮(1371-1440)解說的「北京八景」各景特色不盡相符。此卷經韓世能(1528-1598)、韓逢禧(1578-1653)父子、莊冏生(1627-1679)、莊虎孫父子等人收藏後入清宮,著錄為王紱所畫。



(download)

I, Lo-fen
Division of Chinese, Nanyang Technological University, Singapore

  “The Eight Views of Beijing”, a painting in the name of Ming dynasty artist Wang Fu(1362-1416), has been kept in Qian Qing Gong, and recorded under the “Shiqu baoji xubian(published in 1793)preserved in the National Museum of China. It is the earliest existing painting that was discovered, which drew about the eight views of Beijing. “The EightViews of Beijing” are “Jintai Xi Zhao(Sunset on the Golden Tower), “Taiye Qing Bo” (Crystal Clear Waves at Taiye Pond), “Qion-dao Chun Yun(Spring Clouds at Qionghua Island), “Yuquan Chui Hong(Cascading Rainbow at Jade Stream Mountain), “Juyong Die Cui(Layered Shades of Green at Juyong Pass) , “Ji-men Yan Shu(Misty Trees at Jimen), “Lu-gou Xiao Yue(Dawn Moonlight at Lugou Bridge)Xishan Ji Xue(Clearing Snow on West Mountain) in accordance. A preface written by Hu Guang (1370-1418) of Ming dynasty Yongle 12th year (1414), mentioned of a total 112 poems specially written for the painting itself by 13 officials, but not all were to be found. Among those that were missing, includes the one written by Wang Fu, the artist himself.
This paper attempts to re-explore this preface of “The Eight Views of Beijing”, from the wood-craving print ancient books of the Korea Joseon era. The “Poem Anthology of The Eight Views of Beijing” or “The Poems of ‘The Eight Views of Beijing’ Painting”, kept in the National Library of Korea, Seoul University of Korea Kyujanggak and Academy of East Asian Studies in Sungkyunkwan University, which has the most completed record of poems found in the preface, is a rare reference abroad nations. According to Zeng Qi’s (1372-1432) “After the writing of ‘The Eight Sights of Beijing’ poems”, the rare referencing book was published in 1413 by Zhang Guang-Qi, the governor of Jianyang. A post scriptum by Korean Ren Cong-shan, the governor of Gyeongju, then reflected that it was re-printed in 1449, a recorded timing earlier than that of in  “Ming yi tong zhi” (published in 1461).         

 Research had also discovered that, the poems written by the 13 officials of Yongle imperial court, were not poems especially for the painting “The Eight Views of Beijing”, but a series of creation to Zou Ji’s (?-1422) suggested eight views of Beijing. The actual eight views of Beijing from the painting, uses the content of Wang Fu’s poem as a reference, and hence do not correspond to the eight views listed by Yang Rong (1371-1440). This preface recorded the artist to Wang Fu, and was originated from the collection of the pair of father-and-son Han Shi-neng(1528-1598), Han Feng-xi (1578-1653), and Zhuang Jiong-sheng (1627-1679), Zhuang Hu-sun, then collected in the Qing Palace after. 



2016年11月4日 星期五

台灣文學花園


衣若芬  策畫
孔令俐  編輯
莫忠明  執行祕書


新加坡出版
ISBN: 978-981-11-1546-2

一堂課讀懂台灣文學


【一堂課讀懂台灣文學】


台灣文學花園特別講座

日期:2016年11月25日(週五)時間:晚上7點半 - 晚上9點半地點:城市書房 City Book Room

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