摘要
《詩餘畫譜》，初名為《草堂詩餘意》（或云：《草堂詩畫意》），為明代徽派版畫之重要作品，刊行於明代萬曆四十年（西元1612年），由宛陵地區（即現今的安徽宣城）「汪氏」輯印出版。表現形式結合詞作、書法、繪畫、版刻而成。木刻版畫的工藝經過長時間累積，在明代的發展最為興盛，既能繼承前代之基礎，又具備了各項優勢條件而能有更新的發展。《詩餘畫譜》的成書背景，正是在版畫畫譜的鼎盛時期。 《詩餘畫譜》的內容是將「詞選」製作成畫譜，實現了「詞作」與「圖像」相互輝映的光景。木刻版畫，原是以刻工為主體，《詩餘畫譜》結合了文人創作的文學作品，使得木刻版畫成為以文人的創作意識為主。這樣的變化，使畫譜當中結合了中國傳統文人畫的意識，更使畫譜同時擁有藝術與文學之流傳價值與意義。《詩餘畫譜》之詞作編選內容，受到明代詞學觀念影響；同時，詞作的選擇方式，也考量圖像呈現效果而有取捨。論文研究《詩餘畫譜》，期能透過《詩餘畫譜》，闡明明代版畫藝術與文學觀念結合之內涵及其流傳價值。
並列摘要
Shi Yu Hua Pu”, initially named “Cao Tang Shi Yu Yi”, is an important work of art of the Hui School during the Ming Dynasty. It was compiled by Wang from Wan Lin district (today’s Xuancheng prefecture city in Anhui Province), printed and published in the 40th year of the reign of Emperor WanLi in Ming Dynasty (1612 c.e.). Its form combines literature, calligraphy, drawings, and wood-carving. The technique of woodblock carving flourished and peaked during the Ming Dynasty, where it combines the basic foundation of woodblock carving technique with the superior conditions available during that time. The publication of “Shi Yu Hua Pu” coincides with the peak of the development of woodblock printing. The content of “Shi Yu Hua Pu” is a collection of “Ci” made into woodblock printing, achieving the unity of literature and picture. The woodblock printing originally emphasized the skills of the artisan. However, “Shi Yu Hua Pu” integrates the creative literature input from the literati, shifting the focus of from the artisan’s handiwork towards the creative inspiration of the literati. This shift allows the woodblock carving to convey the consciousness of the Chinese traditional literati art, at the same time allowing the woodblock carving to attain the spread proper to art and literature. The content selection for “Shi Yu Hua Pu” is influenced by the “Ci” of Ming Dynasty while taking the appearance of the picture into consideration. This research seeks to clarify the significance of the integration of woodblock carving and literature in Ming Dynasty, as well as the value of passing it on.
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