摘要
本論文主旨在探討清朝《西廂記》木刻版畫插圖的特色與意義。文中將此議題的探討放置於清朝特殊的社會、文化背景之中，將之與當時最盛行的金聖歎批點本《第六才子書西廂記》的特色與精神做對比的關照。此論文在諸多清朝《西廂記》書籍中選取少數幾種較具有特色的版本做比較深入的分析，其中最重要的三個版本為：1669年出版的《箋注繪像第六才子書西廂記》、1769 年藝經堂刊行的《註釋第六才子書》，以及1889年味蘭軒刊行的《第六才子書西廂記》。以上三書皆為金聖歎批點本，它們的插圖也正好能夠分別代表清朝康熙初年（十七世紀）、乾隆時期（十八世紀）以及十九世紀清朝末年，三個階段出版品的特質。在研究過金聖歎批點的「第六才子書」的特色之後，本文將論述分成版面設計、副圖之強調和圖像象徵意義的應用、以及「人物畫像」之蛻變三部份加以進行。本文認為清朝的《西廂記》木刻版畫插圖具有「通俗化」及「雅俗共賞」的特色；由於副圖中詩詞、書法的大量應用，傳統將「插圖」定位於「圖像」的方式，已無法涵蓋書籍插圖藝術的全部，有必要對此加以檢討、重新思考。關於清朝的木刻版畫插圖藝術由明末的優美細膩轉變為粗放、簡率而致於沒落、消失的深層原因，本文認為並非完全在於政治的管控，文化因素所造成的時代風氣才是其根源。
並列摘要
The aim of this thesis is to study the characteristic features and their significances in the woodblock print illustration to ”The Romance of The Western Chamber” published in the Qing dynasty (1644-1911). This paper is divided into the following four parts and is preceded in that sequence: 1. Monopoly of ”The Romance of The Western Chamber” commentated by Jin Shengtan, and published in early Qing, at about 1656. 2. New forms and formats in the woodblock print illustration to ”The Romance of The Western Chamber” published in the Qing dynasty, and the deterioration in technique and quality of woodblock print reproduction. 3. Shifting of importance from the main illustrations to complimentary decorations, and the exploration of symbolism in motifs and images. 4. Image reconstructions in the full length portraits of Yingying.This research reveals that woodblock print illustrations to The Romance of ”The Western Chamber” published in the Qing dynasty embody ”popular” elements that appeal to both common people and those better educated. It is also discovered that the traditional practice of referring book illustrations to ”pictorial images” needs to be modified and re-examined, as calligraphy and poems are popularly used in the illustration sections of the books published in the Qing dynasty. Finally, it is believed that the profound reason which leads to the change of style of woodblock print-from elegant and refined of the Ming dynasty to that of coarse and plain of the Qing dynasty-is mainly due to cultural factors but not the restrictive control of the government over the publication of play works as previously presumed.