碩士 / 國立雲林科技大學 / 視覺傳達設計系碩士班 / 93 / The original print of Shanhaijing has been missing and what can be found nowadays are the repaints during the Ming and Qing dynasty. The study is based on the pictures of the seven of the repainting versions, which are Hu Wen-huan’s (胡文煥), Jiang Ying-hao’s (蔣應鎬), Sancai tuhui (三才圖會) and Xinqie Yantai Jiaozheng Tianxia Tongxing Wunlin Jubao Wanjuan Xingluo (新鍥燕臺校正天下通行文林聚寶萬卷星羅) in the Ming Dynasty; Wu Ren-chen’s (吳任臣), Wang fu’s (汪紱), and The Complete Collection of Ancient and Modern Writings and Charts (古今圖書集成) in the Qing Dynasty. According to related references, these pictures are divided into categories of the Spirits and Gods(靈祇), the Foreign Lands(異域), the Monsters(獸族), the Feathered Animals(羽禽) and the Scaled Creatures(鱗介). The two purposes of the study are to discuss the differences of the repainted pictures described in these books and then to investigate the pictures painted according to different versions.
The different pictures caused by the descriptions of these books can be resulted from three factors. Firstly, different authors might choose different books to paint. The versions of Jiang’s book, Wang’s book, and that of The Complete Collection of Ancient and Modern Writings and Charts (古今圖書集成) tend to paint the actions of those gods and spirits. Secondly, different part of the missing Shanhaijing can be cut off. The version of The Complete Collection of Ancient and Modern Writings and Charts (古今圖書集成) mostly cut off the former part, so the pictures are based on the later part of it. Thirdly, due to different descriptions of those books, much diversity occurred. This is mainly happened when describing the scaled creatures.
In addition, different versions of Shanhaijing can cause different pictures to be painted. It is found that the Jiang’s book is mostly influenced by Guo-pu’s verse of pictures (圖贊) while the Hu’s, Sancai tuhui (三才圖會) and Xinqie Yantai Jiaozheng Tianxia Tongxing Wunlin Jubao Wanjuan Xingluo (新鍥燕臺校正天下通行文林聚寶萬卷星羅) are likely to be affected by these pictures that tell a story (圖說文字). The Qing dynasty is basically following the Ming dynasty. So the Hu’s and Sancai tuhui (三才圖會) are often the samples of drawing. Only the Wu’s book is reedited according to his own corrections based on various ancient books.
Regarding to the background of different eras, the versions of the Ming dynasty are mostly the engravings of the dynasty. Most of them are from some popular encyclopedias for daily use (類書) and some series of books (叢書). As a result, different versions will have mutual influences on each other. The Qing dynasty often follows what the Ming dynasty has. However, a lot of pictures are added, such as the pictures of some foreign lands in The Complete Collection of Ancient and Modern Writings and Charts (古今圖書集成). Moreover, due to the popularity of proofreading, the Wu’s book is corrected by Wu himself. As for Wang fu (汪紱), who uses pictures of other versions, is considered the expression of creativity.
| Identifer | oai:union.ndltd.org:TW/093YUNT5634014 |
| Date | January 2005 |
| Creators | Tin-wen Wang, 王亭文 |
| Contributors | Chi-shiung Thezeng, 曾啟雄 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 127 |
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