Research On Block Printed Operas From The Reign Of Shunzhi(1644-1661)to Kangxi(1662-1722)in Qing Dynasty

The thesis takes the block printed operas during the reign of Shunzhi and Kangxi in the Qing Dynasty as the research object,and examines the situation of their production,printing and publication,dissemination and consumption in this period,from the perspective of art production and art consumption.Through sorting out the extant documents,and making comparison and analysis,the thesis will reveal the theme selection,printing and publication scale,style and characteristics,as well as review mechanism of the illustrations of block printed operas in the early Qing Dynasty,and try to track the development trace of the illustrations in block printed operas during the reign of Shunzhi and Kangxi in the Qing Dynasty,finally explore the evolution route.The first chapter focuses on sorting out the opera prohibition policy during the ruling period of Shunzhi and Kangxi in the Qing Dynasty,summarizing the political,economic,and cultural background of opera production and consumption during this period.Through the investigation of opera performance and the exploration of the subjective identity of opera creation,it will reveal the law that in the early Qing Dynasty,the literary identity’s self-consciousness of opera was a result of compromise and conflict during the struggle with consumerism.The division between "textualization" and "the tendency to stage performance" basically determined the general development trend and routine of the illustrations of block printed operas in the Qing Dynasty.The second chapter investigates the formation process of the Engraving Center of block printed operas with illustrations in the Qing Dynasty based on literature collation and analysis.At the same time,it explores the reasons for the rise and decline of the book-engraving industry in Jianyang,Suzhou,Hangzhou,Nanjing and other places,examining the association between the formation of the Opera Publishing and Engraving Center under the market-oriented mechanism,and natural disasters,migration of engravers,cost of engraved books,technological innovation and so on.The third chapter re-discusses the concept of "the Engraved Pictures in Huizhou style" based on the actual situation of local engraving workers’ migration in Huizhou in the Qing Dynasty.Taking the development,evolution,dissemination and interaction of Huizhou style as clues,this chapter observes the mutual blending and penetration trace between Huizhou schools’ features and other regions’ characteristics,such as,Suzhou,Hangzhou,Nanjing and other places,combining with their representative works,and then summarizes their regional style characteristics.The core of the fourth chapter is the critique function of opera illustrations.First of all,from the reason why opera illustrations can obtain the function of literary criticism,we can clarify the concept of opera illustrations,analyze the reasons why opera illustrations obtain the identity as literary texts and its meaning,once the engraving pictures enter into the context of "illustrations",they can be regarded as the symbol that the content of illustrations awakens the cognitive function,educational function and aesthetic function to readers,thus intervening in the field of the overall literary text criticism.Secondly,by investigating the illustration comments that has the"picture-based" form,we can draw that such form has the characteristics of "painting’s interest","implicitness" and "fluidity",and then this part explains the commentary form’s visibility,ambiguity and interactivity.Finally,this chapter,combining specific works,analyzes the three conventional commentary mechanisms of illustrations for showing important details,shaping characters,and keeping classic scenes.