圖像史書
——《中國古版年畫珍本》出版雜記

姜彥文/Jiang Yanwen

圖像史書
——《中國古版年畫珍本》出版雜記

姜彥文/Jiang Yanwen

2015年，國家“十二五”重點出版項目《中國古版年畫珍本》（十一卷）順利出版，作為編委會成員之一，本文作者有幸參與了這套書從策劃到出版的全過程，并作為其中三卷的執(zhí)行主編。值此書出版一周年之際，略述其緣起、概況和理念，其中也有作者對圖像與歷史關系的一些思考。

古版年畫；珍本；圖像；歷史

“年畫”①是民間美術的主要品類之一，歷史悠久。明清以來，民間年畫呈現出全面繁盛的局面，產地遍及全國，不同風格、不同題材、不同體裁的年畫爭芳斗艷，蔚為大觀。人們在歡度春節(jié)之時，家家戶戶從大門到住室都要貼年畫，把環(huán)境裝飾得煥然一新。當時的情景，在清末富察敦崇撰寫的《燕京歲時記》中可見一斑：“每至臘月，繁盛之區(qū)，支搭席棚，售賣畫片。婦女兒童爭購之。亦所以點綴年華也?！雹?/p>

然而，隨著時代的變遷，年畫逐漸淡出了人們的日常生活，甚至成為需要“搶救”和“保護”的對象。與此同時，其文化價值卻更加鮮明地顯現出來，尤其是在美術史上的獨特價值。本文所述的《中國古版年畫珍本》（十一卷）③（圖1）便是在這樣的背景下問世的。

作為編委會成員之一，筆者有幸參與了這套書從策劃到出版的整個過程，并承擔了其中三卷的主要工作。值此書出版一周年之際，草成此文，略述其緣起、概況和理念，也有筆者的一些思考。

一

2006年，王樹村先生（圖2）給時任中國藝術研究院院長的王文章先生寫了一封信，直指當時真?zhèn)挝幕z產魚龍混雜的局面。信中寫道：“在‘申遺’熱浪中，年畫、剪紙、藝匠技法等項目，出現了空前繁鬧局面。書市上也有許多年畫書出現，遺憾的是皆貌似搶救文化遺產，但都是些并非值得搶救的內容，因這些書多是‘搶購’年畫攤上的新翻刻者，或美其名曰‘珍藏本’，或冠以‘即將消逝的民藝’……混淆了申遺的真相?！贬槍y象，王樹村先生提出，要編撰一套《民間古版年畫寶鑒》（本套叢書的初名），將中國藝術研究院圖書館所藏的年畫及王先生的私人藏品編印出來，“以此作為樣板來對照、辨別真假年畫，使假李逵讓位，讓真正的文化遺產面世”。④

New Year painting,1as one of the major genres of folk art, has a long history in China. Beginning from the Ming and Qing dynasties,folk New Year painting reached its acme, with its places of production spreading all over China. New Year paintings of different styles, subjects and types vied with each other, presenting a splendid sight. When celebrating the Spring Festival, every household would put on New Year paintings on their gates, in their living rooms and other places, so that their environment might take on a completely new look.Annual Customs and Festivals in Beijing,written by Fucha Dunchong in the late Qing dynasty, may serve as a witness of the scene of that time: “When the twelfth lunar month arrives each year, prosperous areas would bustle,with a great many mat sheds and New Year painting vendors. Women and children would rush to buy them, and the scene would add to the prosperity of the New Year.”2

However, with the change of times, New Year painting has gradually faded out of people’s daily life, and even become the object of “rescue” and “protection”. Meanwhile, its cultural value, especially its unique value in art history, has become more obvious. It was against this background that theAncient and Rare Edition of Chinese New Year Paintings(11 volumes)3written about in this article (Fig. 1) came out.

As a member of the editorial board, I had the honor of participating in the whole compiling process of this book, and undertaking the main compiling work of its three volumes. On the occasion of the first anniversary of its publication, I write this article to give a brief account of the book, its origin, its concept, as well as some of my own reflections.

I

In 2006, Mr. Wang Shucun (Fig. 2) wrote a letter to Mr. Wang Wenzhang, then president of Chinese National Academy of Arts, focusing on the state of the genuine cultural heritage being mixed with the false at that time. He writes: “In the surge of fervor for ‘application for the honor of world cultural heritage’, such items as New Year painting, paper cut and craftsman technique are experiencing unprecedented prosperity.A lot of books on New Year painting also can be found in bookstores.Unfortunately, they are seemingly rescuing cultural relics, but what they are rescuing are mostly unworthy ones. For what are included in most of the books, though described euphemistically as ‘collection edition’ or‘about vanishing folk arts’, are paintings newly reprinted by cutting the blocks again, purchased ‘in panic’ from New Year painting stalls… They have blurred the true sense of ‘application for the honor of world cultural heritage’.” Mr. Wang Shucun proposed to compile the multi-volume bookAncient Edition of Chinese Folk New Year Paintings(original title of the book) consisting of the New Year paintings collected in the library of Chinese National Academy of Arts, and Mr. Wang’s private collections. “It may multi-volume book as a template by comparison with which the genuine New Year paintings may be distinguished from the false, making it possible for true, rather than faked, cultural heritage come out.”4

圖1 《中國古版年畫珍本》十一卷Fig. 1 Ancient and Rare Edition of Chinese New Year Paintings (11 Volumes)

圖2 王樹村先生工作照Fig. 2 Mr. Wang Shucun at work

圖3 《上天降福 新春大喜》，清代版，三裁，版印筆繪，縱36厘米，橫61厘米，天津楊柳青，戴廉增，中國國家圖書館藏Fig. 3 Blessing from the Heaven, and Happy Spring Festival, edition of the Qing Dynasty,half printed and hal f painted, 36×61 cm, Dai Lianzeng Painting Shop, Yangliuqing, Tianjin,collected by National Library of China

必須承認，許多珍貴的非物質文化遺產正在默默消亡，成為無法挽回的損失。但對于當前炒得沸沸揚揚且愈演愈烈的非物質文化遺產的保護與傳承，筆者卻始終有一個疑問，那就是：我們保護的是否是真正的非物質文化遺產？實際情況是，在一片保護聲中，許多“偽民俗”“偽民間藝術”應運而生。這些“偽”品從形式上完全模仿真的民間藝術，行外人士很難了解真相。就是說，我們投入很大財力和精力保護的有可能是假的“文化遺產”。要保護和傳承真正的民間藝術，前提就是要先認識什么是真正的民間藝術。今天，在反思這些問題的同時，更可以體會到王樹村先生的學術遠見。

我以為這套叢書最樸素的目的就是：將真正的、優(yōu)秀的民間藝術展示給大家，以正視聽，以治亂象?？梢哉f，本書的出版緣于一種文化自覺和社會責任。因此，也決定了本書選擇作品的基調，即以“古版”和“珍本”為原則，在體現歷史和文化價值的同時，尤重年畫的藝術價值。

對于“古版”的解釋，見仁見智。我理解，主要是明清以來的版樣，因為文化的延續(xù)性及年畫史的自身特點，亦包括大量民國版作品。“珍本”，顧名思義，指的就是那些珍貴的遺存，正如本書主編王海霞所言，“皆為各地傳統(tǒng)古版年畫中具有典型性、代表性，以及具有教育意義、文化價值、審美價值的作品”。

據統(tǒng)計，本套叢書收錄的年畫作品近4000幅，為了保證質量，入選的每件作品都經過了精心遴選?？傮w而言，以王樹村先生的收藏為主，此外還收錄了中國藝術研究院、中國國家圖書館、中國美術館、上海圖書館、重慶中國三峽博物館、天津博物館等機構以及部分私人藏家的作品。其中叢書收錄的中國國家圖書館珍藏的幾百件年畫作品，均為首次刊印，彌足珍貴（圖3）。

在編輯過程中，因為個別產地存世作品有限，且題材過于單一、重復，在無法得到足夠數量“古版珍本”年畫的情況下，我們也曾猶豫過是否可以補充進去部分舊版翻刻作品。但最終還是堅持了原則，保證了本書的純粹性與學術性。

It must be admitted that a lot of precious intangible cultural heritage is disappearing quietly, an irretrievable loss indeed. But I have always a doubt about the protection and inheritance of intangible cultural heritage,a topic so highlighted that it becomes a hot item: are we protecting the genuine intangible cultural heritage? The actual situation is that a lot of “fakelore” and pseudo folk arts have come into being in response to the call for protection. These counterfeit products completely imitate those of genuine folk art in form, and it is difficult for ordinary people to know the truth. In other words, what we protect with remarkable financial resources and energy is fake “cultural heritage”. The protection and inheritance of genuine folk art presupposes a full understanding of what genuine folk art is. Today, while reflecting on these issues, we may appreciate more deeply Mr. Wang Shucun’s academic vision.

I think the simplest purpose of this multi-volume book is to ensure a correct understanding of the truth and to try to remedy the present chaotic phenomena by showing the genuine and excellent folk art to the readers. It can be said that the publication of this book is due to cultural consciousness and social responsibility, and this fact also determines the principle in choosing New Year paintings to be included. That is,they must be “ancient edition” and “rare edition”, and, apart from their historical and cultural value, their artistic value should be taken into particular account.

About the definition of “ancient edition”, different people have different views. In my understanding, it should mainly refer to editions of the Ming and Qing dynasties and, due to the continuity of culture and the characteristics of history of New Year painting itself, also a large number of works printed in the republican period. “Rare edition”, as the name suggests, refers to those precious relics. As Wang Haixia, chief editor of the book put it, “They are all typical, representative and instructive works with cultural and aesthetic values, chosen from ancient editions of New Year Paintings of different parts in China.”

According to statistics, this multi-volume book contains nearly 4,000 New Year paintings. In order to ensure their quality, every artistic piece has been carefully selected. On the whole, the book is based on Mr.Wang Shucun’s collection, and also includes the artistic works collected by such art institutions as the Chinese National Academy of Arts,National Library of China, National Art Museum of China, Shanghai Library, Chongqing China Three Gorges Museum, and Tianjin Museum,as well as works in private collections. Especially valuable are the several hundred New Year paintings from the collection of the National Library of China, which are all published for the first time (Fig. 3).

In the process of editing, we were once hesitant about whether to add some of the New Year paintings reprinted by cutting the blocks again according to old editions when we found that the extant works from a few places of production are limited in number and too monotonous and repetitive in subject matter, and what is more, we were unable to obtain suf ficient “ancient and rare New Year paintings”. In the end, however,we adhered to our principles, and the purity and the academic nature of the book were guaranteed.

二

本書的編寫緣于王樹村先生，而且所收作品也主要來自他的收藏。王樹村先生在民間美術尤其是民間年畫領域的學術地位自不必多言，他豐富的藏品更是叢書所收作品的基礎。

作為本書的總顧問，薄松年先生為這套叢書傾注了大量的心血。實際上，他的工作也早已遠遠超過了顧問的范圍。薄先生是中央美術學院的教授，著名美術史家、民間藝術研究專家，著作等身。他不僅確定了本書的學術基調，而且堅持審閱收錄的每一件作品，審定每一段文字，甚至包括對叢書設計風格的討論，薄先生全部都積極參與，進言獻策，且親力親為。

本書的主編是王樹村先生的弟子、著名民間美術理論家王海霞研究員。從早期制定編纂計劃，到作品的搜集、鑒定、整理、拍攝，再到選定分卷作者、確定撰寫體例、組織階段性會議等等，一直到出版過程中的繁瑣對接工作以及出版后的宣傳推廣，全部都是她的工作。沒有她的堅持和努力，這套書的出版是不可想象的。

本書采取了分卷編寫的方式，按產地分類，共有十一卷，分別為：北京卷、天津卷、山東卷(上)、山東卷(下)、山西卷、河北卷、河南卷、陜西卷、江蘇?浙江?上海卷、四川?重慶卷、綜合卷。

各分卷主編，既包括了薄松年先生與王海霞老師等專家學者，也有中國藝術研究院、中國美術館、天津美術學院等單位的青年學者。其中筆者所負責的三卷分別是：天津卷、四川?重慶卷與綜合卷。一定要說的是，限于個人的學識，這絕不是我一個人可以完成的。以綜合卷為例，該卷收錄了中國南方地區(qū)七個重要年畫產地的作品，分別為：安徽、湖北、湖南、福建、臺灣、廣東、云南。本卷的撰寫，除了參考了大量前人的相關著述，更重要的是在薄松年先生、王海霞老師的指導下完成的。此外，臺灣的楊永智老師在全卷（尤其是福建、臺灣、廣東部分）的編寫上給予了很多的幫助與意見，還提供了數十件珍貴的年畫圖版（圖4）。楊松海先生在云南紙馬部分的寫作上，也提供了資料和建議。此外，還得到了劉瑩、王曉戈、徐呈瑞、周凱凱等師友的指教和幫助。

叢書出版后，一度被認為是“中國木版年畫的鴻篇巨制”，“不僅為中國美術史、年畫研究提供了最為詳實的圖像資料，也為研究中國傳統(tǒng)文化和中國古代社會生活提供了一套極為珍貴的圖文資料”。然而，回看本書，也有一些問題值得再討論。比如，就叢書整體而言，將山東卷分為上下兩卷是否妥當？綜合卷的命名是否應該再研究？針對作品單一、重復的問題，山西卷與陜西卷是否應該合在一起更為妥當等等。細節(jié)的問題，比如部分作品的信息不完整，部分作品的斷代、產地也值得再商榷，還有一些作品是否堪稱古版珍本等等，都值得再研究。至于概述及圖說的部分，限于撰寫者的水平，或者有更多的不盡如人意或不完善之處。在此，也誠懇期待大家的寶貴意見。

II

The compiling of the book should be attributed to Mr. Wang Shucun, and the works included are mainly from his collection. Needless to say, Mr. Wang Shucun has a high academic status in the field of folk art, especially of the folk New Year painting, and his abundant collection of New Year paintings is the basis of the book.

As the general consultant of this book, Mr. Bo Songnian devoted lots of efforts to it. In fact, he has done much more than what he should as a consultant. Mr. Bo is a professor at China Central Academy of Fine Arts, a famous art historian, a folk art research expert, with many works to his credit. He not only set the academic keynote of the book, but also persisted in examining every work included and every text personally,and even joined in the discussions on the design style of the series and gave opinions and suggestions.

The editor in chief of this book is the research fellow Wang Haixia,the disciple of Mr. Wang Shucun and a famous theorist in folk arts. She was in charge of all the work in every stage: drawing up the compiling plan, soliciting, authenticating, sorting out, and photographing the works,selecting and designating the authors of each volume, determining stylistic rules, organizing meetings at different stages, the overelaborate work of linking up different parts in the process of publication, and publicity and promotion after publication. The publication of this book would be unimaginable without her persistence and hard work.

A volume-based mode was adopted for compiling this book.The book consists of 11 volumes on the basis of places of production,namely: Beijing Volume, Tianjin Volume, Shandong Volume (I),Shandong Volume (II), Shanxi Volume, Hebei Volume, Henan Volume,Shaanxi Volume, Jiangsu-Zhejiang-Shanghai Volume, Sichuan-Chongqing Volume and Miscellaneous Volume.

The chief editors of different volumes include not only experts and scholars such as Mr. Bo Songnian, and Ms. Wang Haixia, but also young scholars from Chinese National Academy of Arts, National Art Museum of China, Tianjin Academy of Fine Arts, etc. The three volumes of which I am in charge are Tianjin Volume, Sichuan-Chongqing Volume,and Miscellaneous Volume. I must say, however, due to my limited knowledge, this is a task that I cannot complete all by myself. Let’s take Miscellaneous Volume as an example. This volume contains New Year paintings from seven major production places in South China,namely, Anhui, Hubei, Hunan, Fujian, Taiwan, Guangdong and Yunnan.Although a large number of previous writings were used as reference,more importantly, the compiling of the volume was completed under the guidance of Mr. Bo Songnian and Professor Wang Haixia. In addition,Professor Yang Yongzhi from Taiwan offered a lot of help and advice in compiling the volume (especially Fujian, Taiwan, and Guangdong sections), and provided dozens of precious plates of New Year Paintings(Fig. 4). Also, Mr. Yang Songhai provided some information and advice about the writing on the section of Yunnan paper printed with picture of idols. Moreover, we also received help and instructions from Liu Ying,Wang Xiaoge, Xu Chengrui, Zhou Kaikai and other teachers and friends.

After the book came out, it was once considered as “a monumental work about woodblock New Year painting in China”, which “has not only provided the most detailed pictorial data for the study of Chinese art history and New Year painting, but also provided a set of extremely valuable pictorial and textual data for the study of Chinese traditional culture and social life in ancient China”. However, in retrospect, I find that there is still something in the series worth discussing again. For instance, in terms of the whole book, is it appropriate to divide the Shandong Volume into two parts? Should the title of the “Miscellaneous Volume” be reconsidered? In view of the works being monotonous and repetitive, is it more appropriate to merge Shanxi Volume and Shaanxi Volume together? Some problems of details are also worthy of further discussion, for example, the information of some works is incomplete,the date and place of production of some works should be reexamined,and whether some works deserve to be called ancient and rare edition.As to the parts of overview and captions, there are perhaps some more places unsatisfactory or incomplete due to the limited level of the writers. We sincerely look forward to your valuable advice.

三

本書的編寫以“古版珍本”為基本原則，此外的編輯理念與訴求，在王海霞老師撰寫的前言中也已明確提出：希望本書成為“一部中國社會民間生活的圖像志，也是留給后代的一部形象的史書”。那么，這些理念是如何體現的呢？下面以筆者主編的天津卷為例，以圖像與歷史的關系為中心，略述一二。

III

This book was compiled based on the principle of “taking ancient edition and rare edition as prerequisite”, and the editorial ideas and demands were also put forward by Professor Wang Haixia in the preface,hoping that this book would be “an iconographic record that reflects the social life in China, as well as a visual history book to be left to posterity”. In this case, how are these ideas reflected? Now, taking the Tianjin Volume of which I am the chief editor as an example, I will give a brief account, focusing on the relationship between image and history.

圖4 《七娘夫人》，民國版，紙扎畫，彩色套印，縱23.5厘米，橫15.8厘米，臺灣臺南，林坤記，楊永智藏Fig. 4 Seven Madams, edition of the republican period, picture used in making funeral paper supplies, process printing, 23.5×15.8 cm, Tainan, Taiwan,Lin Kun Ji, collected by Yang Yongzhi

圖5 《齊桓公舉火爵寧戚》，清代版，貢尖，版印筆繪，縱58厘米，橫104厘米，天津楊柳青，戴廉增，中國美術館藏Fig. 5 Duke Huan of Qi State Offers Ning Qi an Official Post with Torches Burning Brightly, edition of the Qing Dynasty, tribute piece, half printed and half painted,58×104 cm, Dai Lianzeng Painting Shop, Yangliuqing,Tianjin, collected by National Art Museum of China

圖6 《女學堂演武》，清代版，貢尖，版印筆繪，縱58厘米，橫107厘米，天津楊柳青，中央美術學院圖書館藏Fig. 6 Military Training in a Female School, edition of the Qing Dynasty, tribute piece, half printed and half pai nted,58×107 cm, Yangliuqing, Tianjin, collected by the Library of China Central Academy of Fine Arts

所謂天津年畫⑤，即以天津楊柳青為中心產地的“楊柳青年畫”。縱觀楊柳青年畫收集與研究的學術史，其成果是毋庸置疑的，其中很多研究甚至堪稱經典。但問題也比較明顯。從近十幾年以來的出版物來看，多是舊有研究成果的改頭換面，少見具有學術意義的創(chuàng)新與突破，也少見修正過去錯誤或彌補以往不足之處。并且，在逐漸“豐富”的作品背后，一些圖冊中未經鑒別的偽品也不在少數，圖錄撰寫水平的大幅下滑也比較明顯⑥。就研究而言，則多為材料的匯集與整理，或是在美術史視角下進行簡單的形式風格分析，或是在歷史學視角下做“看圖說話”式解說，扎實的個案研究與系統(tǒng)的綜合研究均尚待開拓。

由此，筆者以為今天的楊柳青年畫研究，不能僅僅停留在材料上，應該突破傳統(tǒng)的研究框架，從文化史的視角出發(fā)，進入到闡釋的層面。借用柯律格的觀點，探討作為視覺藝術的民間年畫是“如何被大規(guī)模生產”及使用的，以及“它們是否產生了社會的、文化的和政治的意義而非只是表現了這些意義”，“如果是的話，這些意義又是如何產生的”。⑦

具體而言，即如何通過圖像研究歷史。這里的歷史并非完全指那些“故事”“戲出”之類通過歷史、戲曲故事表達人們的思想觀念的年畫，如《齊桓公舉火爵寧戚》（圖5）、《渭水河》等。當然，這些作品均在一定程度上再現或表現了歷史。尤其是年畫中的“風俗時事”作品，除了對當時社會生活的形象反映之外，有些作品還描繪了近百年來人民反帝反封建斗爭以及提倡文明進步、男女平等、熱愛國家等內容，體現了民間年畫與社會現實生活緊密聯系的特征，儼然是一部圖像的近代社會史。⑧如收錄于本書的《劉提督克復水戰(zhàn)得勝全圖》《女學堂演武》等。舉例來說，這件《女學堂演武》（圖6）即是天津清末年畫的代表之作。圖中眾女子橫排站成一隊，在一位女教官的帶領下進行操練。前排正在練習射擊，后排則在扛槍等候。其背后的史實是，清末廢除科舉建立新式學堂，以代替舊學塾和舊的八股取士考試制度。一些愛國之士更在御侮圖強的信念下，興辦女子學堂。此圖即據此而刻。

What is called Tianjin New Year painting5refers to “Yangliuqing New Year painting” with Yangliuqing in Tianjin as the central place of production. A comprehensive survey shows that an abundance of results have undoubtedly achieved in collection and research of Yangliuqing New Year paintings, and many of the researches deserve to be called classics. However, there are also obvious problems. As can be seen in the publications of the last decade, most of them are merely previous results dished up in a new form, with few academic innovations and breakthroughs, or new materials that may correct previous errors or make up for past deficiencies. In addition, behind the increasingly“abundant” artistic works, one may find quite a number of unidenti fied fake works in some albums, and obvious decline of the writing level of captions.6Most of results of academic research are merely materials collected and sorted out, or simple analyses of formal style from the perspective of art history, or a look-and-say type explanation from the perspective of history. However, the in-depth case study or comprehensive and systematic study is yet to be developed.

Therefore I think that the research on Yangliuqing New Year painting today should not remain at the level of material study; instead,it should break through the traditional framework of research, and enter into interpretation of it from the perspective of cultural history. That is,to explore, in Craig’s words, “how” folk New Year paintings as visual art are “mass produced” and used, and “whether they have brought about social, cultural and political signi ficance, rather than merely manifested this signi ficance”, and “if so, how this signi ficance come about”.7

Or, specifically speaking, how to study history through images.The history here does not entirely refer to those New Year paintings of“stories” and “characters from operas” that express people’s thoughts and ideas through stories in history or in an opera, for instance,Duke Huan of Qi State Offers Ning Qi an Of ficial Post with Torches Burning Brightly(Fig. 5) andThe Weishui River.Of course, all these works have,to a certain extent, represented or depicted history. Some New Year paintings depicting “social customs and current events”, in particular,apart from reflecting visually social life at that time, portray the struggle of the Chinese people against imperialism and feudalism in the past one hundred years and subjects of advocating civilization and progress,equality between men and women, and love for the motherland and so on. These paintings, which have embodied the close connection of folk New Year pictu8res with real social life, amount to a modern social history in images.Commander Liu Wins a Battle on the RiverandMilitary Training in a Female Schoolincluded in the book are good examples.Military Training in a Female School(Fig. 6), for instance,is a representative work of the New Year paintings of the late Qing Dynasty in Tianjin. In the picture, women standing in rows are practicing military skills under the guidance of a female instructor. Those in the front row are practicing shooting while those in the back row are waiting for their turn with rifles on their shoulders. This picture was created on the basis of historical facts. In the late Qing Dynasty, when the imperial examination system was abolished and modern schools were set up to replace old-style private schools and the old examination system for which the eight-part essay was prescribed, some patriotic personages began to set up female schools with the idea of resisting invasion and rejuvenating China.

圖7 《連仲（中）三元》，清代版，三裁，版印筆繪，縱35厘米，橫59厘米，天津楊柳青，戴廉增，重慶中國三峽博物館藏Fig. 7 Ranking First in the Imperial Examinations at All the Three Levels in Succession, edition of the Qing Dynasty, half printed and half painted, 35×59 cm, Dai Lianzeng Painting Shop, Yangliuqing, Tianjin,collected by Chongqing China Three Gorges Museum

圖8 《琵琶仕女》，清代版，立貢尖，版印筆繪，縱102.5厘米，橫60厘米，天津楊柳青，李盛興畫店，天津博物館藏Fig. 8 Pipa and Lady,edition of the Qing Dynasty, vertical tribute piece, half printed and half painted, 102.5×60 cm, Yangliuqing, Tianjin,Li Shengxing Painting Shop, collected by Tianjin Museum

本文想要強調的是，即使是一些“門神門畫”“仕女娃娃”“民俗生活”類的作品，其實也是歷史，而且有其特殊意義。比如《連仲（中）三元》（圖7）與《琵琶仕女》（圖8）這兩件作品。前者是典型的娃娃年畫。圖繪一童子，手執(zhí)一枝蓮花，旁有一折枝，上有圓橘三枚，諧音“連中三元”。古代科舉制度稱鄉(xiāng)試、會試、殿試的第一名為解元、會元、狀元，合稱“三元”?！斑B中三元”即接連在考試中取得第一名。后者描繪了一位正面端坐的美人，手持一琵琶，旁置一圓桌，上面放有花瓶等物，瓶內插牡丹，寓意平生富貴。人物造型、用色均極典雅，突出表現了美人高貴、優(yōu)雅的儀態(tài)。精妙的面部刻畫，使觀者仿佛可以窺見其細微的精神世界。

兩件作品中的人物形象均讓人印象深刻：娃娃健康而可愛，仕女溫婉而端莊。在圖像的背后，我們可以讀出那個時代對于娃娃和女性形象的愿望與理想，這才是這個民族最為樸實、美好的一面。⑨筆者以為，其中的形象與心態(tài)，也是歷史研究的一部分。如此說來，所有圖像都是歷史。

結語

最后要說明的是，《中國古版年畫珍本》是在全體編撰人員的共同努力下，工作近十年的成果。其中當然包括本文未涉及的湖北美術出版社、中國工藝美術出版社諸位同仁的貢獻，及更多的專家、學者、師友的關懷和幫助。⑩

在2007年夏天，筆者曾經對王樹村先生做過一次專訪?。在對話中，先生談到了自己的年畫研究，他說他只是打下了一個研究的基礎，他的研究才剛剛開始。我想，本書的出版也是一樣，這不是一件事情的終結，而是開始。書出來了，一方面期待大家的檢驗、批評與指教，另一方面也期待能夠帶來新的發(fā)現與研究。

因此，當這些作品匯聚在一起的時候，筆者希望展現給讀者的不僅是年畫藝術，還是歷史與文化，不僅是藝術史的圖景，也是文化史的圖景。

2016年5月10日

It should be emphasized that, in fact, even pictures depicting“door-gods”, “beautiful women and children” and “folk life” are also reflections of history, and have special significance. For example,Ranking First in the Imperial Examinations at All the Three Levels in Succession(Fig. 7) andPipa and Lady(Fig. 8). The former is a typical New Year painting portraying children, in which a child is holding a lotus, and beside him is a broken branch with three round oranges on it,homophonic with “Lianzhong Sanyuan” in Chinese. Under the ancient imperial examination system, the one who comes out first successively in the examinations at the provincial capital, the national capital and the palace, wins the titles ofJieyuan, HuiyuanandZhuangyuan, or the“three yuans” (sanyuan, in Chinese) in short. “Lianzhong Sanyuan”means ranking first in the imperial examinations at all the three levels in succession. The latter depicts a seated beauty facing front, holding a pipa, beside a round table with a vase and a peony and other objects on it, meaning lifetime richness and honor. The extremely elegant modeling and coloring of the figure highlights the noble and graceful manners of the beauty. The finely portrayed facial features make it possible for the viewer to have an insight into her subtle spiritual world.

The characters in both paintings are impressive: the child is healthy and lovely, and the lady, gentle and stately. We can perceive behind the images the aspirations and ideals in that era embodied in children and female images, and this is the most simple and beautiful side of this nation.9I think that such images and the mentality reflected in them are also part of historical research. Seen in this way, all images are history.

Conclusion

The last point I want to emphasize is that theAncient and Rare Edition of Chinese New Year Paintingsis the result of nearly ten years’effort of the whole editorial staff, including, of course, the contribution made by colleagues of the Hubei Fine Arts Publishing House and China Arts and Crafts Press, as well as care and help from many experts,scholars, teachers and friends.10

In the summer of 2007, I had a special interview with Mr. Wang Shucun11, during which he talked about his research on New Year painting. He said that he had merely laid the foundation for the research,and that his research had only just begun. I think this also applies to the publication of this book. It is not the end, but the beginning, of an undertaking. Now the book has come out, and we expect examination,criticism and advice from the readers on the one hand, and new discoveries and research it may bring about on the other.

Therefore, when these works are gathered in this book, I hope, they will show readers not only the art of New Year painting, but also history and culture; not only the scene of art history, but also that of cultural history.

May 10, 2016

注釋：

① 對于“年畫”概念的系統(tǒng)討論，參見〔日〕三山陵：《“年畫”概念的變遷——從混亂到誤用的固定》，韓冰譯，《中國版畫研究》（日中藝術研究會刊）2007年2月第5號，第193—173頁。②〔清〕富察敦崇：《燕京歲時記》，北京出版社，1961年，第90頁。

③王海霞主編：《中國古版年畫珍本》（十一卷），湖北美術出版社，2015年。

④王樹村：《關于編撰〈中國非物質文化遺產珍本資料集——古版年畫寶鑒〉叢書致王文章院長的一封信》，2006年6月3日。該信的復印件由王海霞老師提供。

⑤ 需要說明的是：楊柳青在漢代為渤?？ふ挛淇h地，隋唐兩代隸屬河北魯城縣（乾符縣），金代河北東路武清縣在此設柳口鎮(zhèn)，元明兩代分隸于武清、靜?？h，清代至民國時期隸屬天津縣。1948年底解放，設楊柳青市，旋廢市改鎮(zhèn)，隸屬天津縣。1949年10月升為河北省轄鎮(zhèn)，亦為天津專員公署駐地。1954年改為靜?？h轄鎮(zhèn)。1960年，劃入天津市南開區(qū)。1962年劃入西郊區(qū)。（參見天津市西青區(qū)地方志編委會：《西青區(qū)志》，天津社會科學院出版社，2003年，第102頁。）就是說，歷史上的“楊柳青”與“天津”很多時候并非隸屬關系。目前我們通常所說的“天津楊柳青”，應理解為“今天津市的楊柳青鎮(zhèn)”。

⑥以2009年出版的《中國木版年畫集成·俄羅斯藏品卷》為例，有學者表示，“僅就眼前編寫的圖說相較，猶未趕上《蘇聯藏中國民間年畫珍品集》王樹村與李福清合寫說明的豐富多元”。見a楊永智：《久違逢年畫，他鄉(xiāng)遇故知——讀〈中國木版年畫集成·俄羅斯藏品卷〉有感》，馮驥才主編：《年畫研究》，中國戲劇出版社，2011年11月，第26頁。b〔俄〕李福清：《中國木版年畫集成·俄羅斯藏品卷》，中華書局，2009年。

⑦〔英〕柯律格：《明代的圖像與視覺性》，黃曉娟譯，北京大學出版社，2011年，第1、2頁。

⑧ 王樹村：《楊柳青年畫：民俗生活卷》，臺北：英文漢聲出版有限公司，2001年，第27頁。

⑨ 俄國漢學家，中國年畫收藏家、研究者阿理克（舊譯阿列克謝耶夫）的一段話曾經讓筆者非常感動，他在楊柳青旅行的日記中曾這樣寫道：“說實在的，我不知道世界上哪一個民族能像中國人民一樣用如此樸實無華的圖畫充分地表現自己?！薄捕怼趁住ね摺ぐ⒘锌酥x耶夫：《1907年中國紀行》，閻國棟譯，云南出版社，2001年，第23頁。

⑩ 本文的寫作，針對的是叢書的緣起、結構與理念。主要參考了收錄于叢書中的三篇文章，分別是：王文章撰寫的叢書“總序”，王海霞撰寫的“前言”和“后記”。恕未一一注明。以編輯者視角的介紹，參見湖北美術出版社劉姍撰寫的相關文章。劉姍：《不忘初心，方得始終——〈中國古版年畫珍本〉（11卷）編輯出版紀實》，《中國美術》2016年第1期，第119—123頁。

?姜彥文：《我的研究才剛剛開始——對話王樹村先生》，《北方美術》2009年4期，第47—49頁。

姜彥文：天津美術學院藝術與人文學院講師

Notes:

1 For the systematic discussion on the concept of New Year painting,see Miyama Ryo (Japan)：“Changes of the Concept of ‘New Year Painting’ -From Chaos to the Fixing of Misuse”, trans. Han Bing, inResearch on Chinese Printmaking(Journal of Japanese-Sino Art Research Association) No. 5, Feb.2007, pp. 193-173.

2 Fucha Dunchong (Qing Dynasty):Annual Customs and Festivals in Beijing, Beijing Publishing House, 1962, p. 90.

3 Wang Haixia (chief editor),Ancient and Rare Edition of Chinese New Year Paintings” (11 Volumes), Hubei Fine Arts Publishing House, 2015.

4 Wang Shucun, “A Letter to President Wang Wenzhang on Compiling the BookA Collection of Rare Materials of Intangible Cultural Heritage in China -Ancient Edition of New Year Paintings”, June 3, 2006. The copy of this letter was provided by Professor Wang Haixia.

5 It needs to be made clear that Yangliuqing was subordinate to Zhangwu County, Bohai Prefecture in the Han Dynasty, and to Lucheng County (Qianfu County) of Hebei in the Sui and Tang Dynasties. In the Jin Dynasty，the government of Wuqing County of Hebeidong Province set up Liukou Township here, and in the Yuan and Ming Dynasties it was subordinate to Wuqing County and Jinghai County respectively. From the Qing Dynasty through the republican period it was subordinate to Tianjin County. After its liberation at the end of 1948,the city of Yangliuqing was set up here, and soon it was changed into a township,subordinate to Tianjin County. In October 1949, it became a town under the jurisdiction of Hebei Province, and the seat of Tianjin prefectural commissioner’s of fice. In 1954, it became a town under the jurisdiction of Jinghai County. In 1960,it was incorporated into Nankai District of Tianjin. In 1962, it was incorporated into the Western Suburb of Tianjin. (See the Editorial Board of the Local Chronicles of Xiqing District, Tianjin,Annuals of Xiqing District, Tianjin Academy of Social Sciences Press, 2003, p. 102.) That is to say, in history, “Yangliuqing”in many cases was not subordinate to Tianjin. “Tianjin Yangliuqing” which is often referred to at present should be understood as “today’s Yangliuqing town of Tianjin”.

6 TakingA Collection of Chinese Woodblock New Year Paintings: Russian Collectionpublished in 2009 as an example, a scholar said, “In terms of the captions being compiled now only, they are still less rich and varied than those written by Wang Shucun and Boris Riftin inRare Chinese Folk Paintings Collected in the Soviet Union.” See (a) Yang Yongzhi, “Long-Lost New Year Paintings Collected in a Distant Land - A Comment onA Collection of Chinese Woodblock New Year Paintings: Russian Collection”, in Feng Jicai (chief editor),New Year Painting Research, China Theatre Press, November 2011, p. 26; (b) Boris Riftin:A Collection of Chinese Woodblock New Year Paintings:Russian Collection, Chung Hwa Book Co., 2009.

7 Craig Clunas,Pictures and Visuality in Early Modern China, trans. Huang Xiaojuan, Beijing University Press, 2011, pp. 1-2.

8 Wang Shucun,Yangliuqing New Year Paintings: Folk Life, Taipei: Echo Publishing Co., Ltd. 2011, p. 27.

9 I am greatly moved by a passage from Vasily Mikhailovsky Alexeyev,Russian sinologist, and collector and researcher of Chinese New Year paintings,who writes in his diary about his travel in Yangliuqing, “To be honest, I don’t know what other nation in the world can so fully express themselves with simple and unsophisticated pictures as the Chinese people do.” M. W. Alexeyev,Notes on the Travel in China in 1907, trans. Yan Guodong, Yunnan Publishing House, 2001,p. 23.

10 This article aims to give an account of the origin, structure and concept of the book. I mainly consulted three articles included in the book when writing it: General Preface by Wang Wenzhang, and Preface and Postscript by Wang Haixia. Sorry for not indicating the sources one by one. For the introduction from the perspective of an editor, see the relevant article by Liu Shan of Hubei Fine Arts Publishing House, “Staying True to the Mission Leads to Final Success:Documentary Account of the Editing and Publishing ofAncient and Rare Edition of Chinese New Year Paintings(11 Volumes)”, inArt in China, No. 1, 2016, pp.119-123.

11 Jiang Yanwen, “My Research Has Only Just Begun: A Dialogue with Mr.Wang Shucun”,Northern Art, No. 4, 2009, pp. 47-49.

Jiang Yanwen: Lecturer at School of Arts and Humanities, Tianjin Academy of Fine Arts

History of Images: Notes of the Publication of theAncient and Rare Edition of Chinese New Year Paintings

2015 witnessed the successful publication ofAncientand Rare Edition of Chinese New Year Paintings(11 volumes), one of the national key publishing projects during the 12th Five-Year Plan period. As one of the members of the editorial board of the book, the author of this article had the honor of participating in the whole process of work, from planning to publication, serving as the executive editor of its three volumes. On the occasion of the first anniversary of the publication of the book, the author hereby gives a brief account of the book, its origin, its concept, as well as his reflections on the relationship between images and history.

ancient New Year paintings; rare edition; image;history