“历史、考古与社会” 中欧学术系列讲座第196讲 陈正宏教授

内容简介：

手卷是一种特定的写本。在明代文人雅集中，它经常是一个多人合作、即兴撰写、以诗为主的社交文本。其中的诗作，在和手卷里的其他相关作品并置时，有它具体的指向和特定的内涵，因而具有独特的魅力。但当它一旦被从卷子中抽取出来，编印进明清时代的别集或总集时，某种程度上就成了孤立的作品，只在特定的文体层面被读者所接受或欣赏。这样的被孤立的作品，它依靠印刷获得的传播效应越大，距离原生态的实际书写情境可能越远。因此，研究近世中国四部文献中的集部文献，即使主要的凭据是被视为文献定本的印本，也应该存一种“写本源”的意识。

The Fascination of Handscrolls – Manuscript and Block Print Products of Ming Dynasty Literati Gatherings

Abstract: 

Handscrolls are a specific sort of manuscript. In Ming Dynasty (1368–1644) literati gatherings they were often a joint production of several people. Written impromptu these were poetic texts which served social interaction. The concrete direction and specific meaning of the poems in handscrolls comes from their relation to the other texts included in the scroll, and because of this they hold a unique fascination. But as soon as a poem had been removed from its scroll and printed in Ming and Qing Dynasty anthologies or collections, it became, in a way, an independent work which a reader would only appreciate on the level of a specific literary form. The greater the influence that these works gained from being printed, the greater their distance from the original environment of an actual manuscript setting became. Therefore when we study texts found in the collected works division from the four bibliographic divisions that early modern Chinese literature is traditionally organized in, and although our main sources are block prints regarded as the definitive edition of a text, we should retain an awareness of their “manuscript origin”.