明清戏曲出版中的插图术语及其演变

摘要

现存的戏曲作品有很大部分是明清商业出版的产物,其中附图本众多,出现了诸如"全像(相)""出像(相)""绣像""绘像""合像""图像"等不同的成像方式.这些插图术语起源时间不一,演变过程中界限不明、混乱使用的情况比比皆是,发展至后来的含义皆指图像.由于清政府对戏曲的禁毁政策较明代更为深远而剧烈,加上文人绘稿的缺失和优秀刻工的后继乏人,使得清代戏曲刻本中使用插图的现象已大为减弱,插图术语出现的频率与丰富性也远不如前明.%Most of the existing opera works are produced by the commercial publishing of the Ming and Qing dynasties, with many of them, such as"whole image "," out image ", "fine-lined portrait ","mapping","close image","image"and so on. The origin times of these illustrations terminology are different, the evolution of the boundaries are unknown, confused use of the situation everywhere, developed to the later meaning of the image. Due to the Qing government's policy on the prohibition and destruction of opera is more far-reaching than the Ming dynasty, coupled with the lack of literati painting and the successor lack of skilled workers, the phenomenon of using illustrations in the Qing dynasty opera block has been greatly reduced, the frequency and richness of the illustration terminology is far less than the former Ming.