图像史书——《中国古版年画珍本》出版杂记

姜彦文/Jiang Yanwen

图像史书
——《中国古版年画珍本》出版杂记

姜彦文/Jiang Yanwen

2015年，国家“十二五”重点出版项目《中国古版年画珍本》（十一卷）顺利出版，作为编委会成员之一，本文作者有幸参与了这套书从策划到出版的全过程，并作为其中三卷的执行主编。值此书出版一周年之际，略述其缘起、概况和理念，其中也有作者对图像与历史关系的一些思考。

古版年画；珍本；图像；历史

“年画”①是民间美术的主要品类之一，历史悠久。明清以来，民间年画呈现出全面繁盛的局面，产地遍及全国，不同风格、不同题材、不同体裁的年画争芳斗艳，蔚为大观。人们在欢度春节之时，家家户户从大门到住室都要贴年画，把环境装饰得焕然一新。当时的情景，在清末富察敦崇撰写的《燕京岁时记》中可见一斑：“每至腊月，繁盛之区，支搭席棚，售卖画片。妇女儿童争购之。亦所以点缀年华也。”②

然而，随着时代的变迁，年画逐渐淡出了人们的日常生活，甚至成为需要“抢救”和“保护”的对象。与此同时，其文化价值却更加鲜明地显现出来，尤其是在美术史上的独特价值。本文所述的《中国古版年画珍本》（十一卷）③（图1）便是在这样的背景下问世的。

作为编委会成员之一，笔者有幸参与了这套书从策划到出版的整个过程，并承担了其中三卷的主要工作。值此书出版一周年之际，草成此文，略述其缘起、概况和理念，也有笔者的一些思考。

一

2006年，王树村先生（图2）给时任中国艺术研究院院长的王文章先生写了一封信，直指当时真伪文化遗产鱼龙混杂的局面。信中写道：“在‘申遗’热浪中，年画、剪纸、艺匠技法等项目，出现了空前繁闹局面。书市上也有许多年画书出现，遗憾的是皆貌似抢救文化遗产，但都是些并非值得抢救的内容，因这些书多是‘抢购’年画摊上的新翻刻者，或美其名曰‘珍藏本’，或冠以‘即将消逝的民艺’……混淆了申遗的真相。”针对乱象，王树村先生提出，要编撰一套《民间古版年画宝鉴》（本套丛书的初名），将中国艺术研究院图书馆所藏的年画及王先生的私人藏品编印出来，“以此作为样板来对照、辨别真假年画，使假李逵让位，让真正的文化遗产面世”。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

图1 《中国古版年画珍本》十一卷Fig. 1 Ancient and Rare Edition of Chinese New Year Paintings (11 Volumes)

图2 王树村先生工作照Fig. 2 Mr. Wang Shucun at work

图3 《上天降福 新春大喜》，清代版，三裁，版印笔绘，纵36厘米，横61厘米，天津杨柳青，戴廉增，中国国家图书馆藏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

必须承认，许多珍贵的非物质文化遗产正在默默消亡，成为无法挽回的损失。但对于当前炒得沸沸扬扬且愈演愈烈的非物质文化遗产的保护与传承，笔者却始终有一个疑问，那就是：我们保护的是否是真正的非物质文化遗产？实际情况是，在一片保护声中，许多“伪民俗”“伪民间艺术”应运而生。这些“伪”品从形式上完全模仿真的民间艺术，行外人士很难了解真相。就是说，我们投入很大财力和精力保护的有可能是假的“文化遗产”。要保护和传承真正的民间艺术，前提就是要先认识什么是真正的民间艺术。今天，在反思这些问题的同时，更可以体会到王树村先生的学术远见。

我以为这套丛书最朴素的目的就是：将真正的、优秀的民间艺术展示给大家，以正视听，以治乱象。可以说，本书的出版缘于一种文化自觉和社会责任。因此，也决定了本书选择作品的基调，即以“古版”和“珍本”为原则，在体现历史和文化价值的同时，尤重年画的艺术价值。

对于“古版”的解释，见仁见智。我理解，主要是明清以来的版样，因为文化的延续性及年画史的自身特点，亦包括大量民国版作品。“珍本”，顾名思义，指的就是那些珍贵的遗存，正如本书主编王海霞所言，“皆为各地传统古版年画中具有典型性、代表性，以及具有教育意义、文化价值、审美价值的作品”。

据统计，本套丛书收录的年画作品近4000幅，为了保证质量，入选的每件作品都经过了精心遴选。总体而言，以王树村先生的收藏为主，此外还收录了中国艺术研究院、中国国家图书馆、中国美术馆、上海图书馆、重庆中国三峡博物馆、天津博物馆等机构以及部分私人藏家的作品。其中丛书收录的中国国家图书馆珍藏的几百件年画作品，均为首次刊印，弥足珍贵（图3）。

在编辑过程中，因为个别产地存世作品有限，且题材过于单一、重复，在无法得到足够数量“古版珍本”年画的情况下，我们也曾犹豫过是否可以补充进去部分旧版翻刻作品。但最终还是坚持了原则，保证了本书的纯粹性与学术性。

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

本书的编写缘于王树村先生，而且所收作品也主要来自他的收藏。王树村先生在民间美术尤其是民间年画领域的学术地位自不必多言，他丰富的藏品更是丛书所收作品的基础。

作为本书的总顾问，薄松年先生为这套丛书倾注了大量的心血。实际上，他的工作也早已远远超过了顾问的范围。薄先生是中央美术学院的教授，著名美术史家、民间艺术研究专家，著作等身。他不仅确定了本书的学术基调，而且坚持审阅收录的每一件作品，审定每一段文字，甚至包括对丛书设计风格的讨论，薄先生全部都积极参与，进言献策，且亲力亲为。

本书的主编是王树村先生的弟子、著名民间美术理论家王海霞研究员。从早期制定编纂计划，到作品的搜集、鉴定、整理、拍摄，再到选定分卷作者、确定撰写体例、组织阶段性会议等等，一直到出版过程中的繁琐对接工作以及出版后的宣传推广，全部都是她的工作。没有她的坚持和努力，这套书的出版是不可想象的。

本书采取了分卷编写的方式，按产地分类，共有十一卷，分别为：北京卷、天津卷、山东卷(上)、山东卷(下)、山西卷、河北卷、河南卷、陕西卷、江苏•浙江•上海卷、四川•重庆卷、综合卷。

各分卷主编，既包括了薄松年先生与王海霞老师等专家学者，也有中国艺术研究院、中国美术馆、天津美术学院等单位的青年学者。其中笔者所负责的三卷分别是：天津卷、四川•重庆卷与综合卷。一定要说的是，限于个人的学识，这绝不是我一个人可以完成的。以综合卷为例，该卷收录了中国南方地区七个重要年画产地的作品，分别为：安徽、湖北、湖南、福建、台湾、广东、云南。本卷的撰写，除了参考了大量前人的相关著述，更重要的是在薄松年先生、王海霞老师的指导下完成的。此外，台湾的杨永智老师在全卷（尤其是福建、台湾、广东部分）的编写上给予了很多的帮助与意见，还提供了数十件珍贵的年画图版（图4）。杨松海先生在云南纸马部分的写作上，也提供了资料和建议。此外，还得到了刘莹、王晓戈、徐呈瑞、周凯凯等师友的指教和帮助。

丛书出版后，一度被认为是“中国木版年画的鸿篇巨制”，“不仅为中国美术史、年画研究提供了最为详实的图像资料，也为研究中国传统文化和中国古代社会生活提供了一套极为珍贵的图文资料”。然而，回看本书，也有一些问题值得再讨论。比如，就丛书整体而言，将山东卷分为上下两卷是否妥当？综合卷的命名是否应该再研究？针对作品单一、重复的问题，山西卷与陕西卷是否应该合在一起更为妥当等等。细节的问题，比如部分作品的信息不完整，部分作品的断代、产地也值得再商榷，还有一些作品是否堪称古版珍本等等，都值得再研究。至于概述及图说的部分，限于撰写者的水平，或者有更多的不尽如人意或不完善之处。在此，也诚恳期待大家的宝贵意见。

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

本书的编写以“古版珍本”为基本原则，此外的编辑理念与诉求，在王海霞老师撰写的前言中也已明确提出：希望本书成为“一部中国社会民间生活的图像志，也是留给后代的一部形象的史书”。那么，这些理念是如何体现的呢？下面以笔者主编的天津卷为例，以图像与历史的关系为中心，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.

图4 《七娘夫人》，民国版，纸扎画，彩色套印，纵23.5厘米，横15.8厘米，台湾台南，林坤记，杨永智藏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

图5 《齐桓公举火爵宁戚》，清代版，贡尖，版印笔绘，纵58厘米，横104厘米，天津杨柳青，戴廉增，中国美术馆藏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

图6 《女学堂演武》，清代版，贡尖，版印笔绘，纵58厘米，横107厘米，天津杨柳青，中央美术学院图书馆藏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

所谓天津年画⑤，即以天津杨柳青为中心产地的“杨柳青年画”。纵观杨柳青年画收集与研究的学术史，其成果是毋庸置疑的，其中很多研究甚至堪称经典。但问题也比较明显。从近十几年以来的出版物来看，多是旧有研究成果的改头换面，少见具有学术意义的创新与突破，也少见修正过去错误或弥补以往不足之处。并且，在逐渐“丰富”的作品背后，一些图册中未经鉴别的伪品也不在少数，图录撰写水平的大幅下滑也比较明显⑥。就研究而言，则多为材料的汇集与整理，或是在美术史视角下进行简单的形式风格分析，或是在历史学视角下做“看图说话”式解说，扎实的个案研究与系统的综合研究均尚待开拓。

由此，笔者以为今天的杨柳青年画研究，不能仅仅停留在材料上，应该突破传统的研究框架，从文化史的视角出发，进入到阐释的层面。借用柯律格的观点，探讨作为视觉艺术的民间年画是“如何被大规模生产”及使用的，以及“它们是否产生了社会的、文化的和政治的意义而非只是表现了这些意义”，“如果是的话，这些意义又是如何产生的”。⑦

具体而言，即如何通过图像研究历史。这里的历史并非完全指那些“故事”“戏出”之类通过历史、戏曲故事表达人们的思想观念的年画，如《齐桓公举火爵宁戚》（图5）、《渭水河》等。当然，这些作品均在一定程度上再现或表现了历史。尤其是年画中的“风俗时事”作品，除了对当时社会生活的形象反映之外，有些作品还描绘了近百年来人民反帝反封建斗争以及提倡文明进步、男女平等、热爱国家等内容，体现了民间年画与社会现实生活紧密联系的特征，俨然是一部图像的近代社会史。⑧如收录于本书的《刘提督克复水战得胜全图》《女学堂演武》等。举例来说，这件《女学堂演武》（图6）即是天津清末年画的代表之作。图中众女子横排站成一队，在一位女教官的带领下进行操练。前排正在练习射击，后排则在扛枪等候。其背后的史实是，清末废除科举建立新式学堂，以代替旧学塾和旧的八股取士考试制度。一些爱国之士更在御侮图强的信念下，兴办女子学堂。此图即据此而刻。

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.

图7 《连仲（中）三元》，清代版，三裁，版印笔绘，纵35厘米，横59厘米，天津杨柳青，戴廉增，重庆中国三峡博物馆藏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

图8 《琵琶仕女》，清代版，立贡尖，版印笔绘，纵102.5厘米，横60厘米，天津杨柳青，李盛兴画店，天津博物馆藏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

本文想要强调的是，即使是一些“门神门画”“仕女娃娃”“民俗生活”类的作品，其实也是历史，而且有其特殊意义。比如《连仲（中）三元》（图7）与《琵琶仕女》（图8）这两件作品。前者是典型的娃娃年画。图绘一童子，手执一枝莲花，旁有一折枝，上有圆橘三枚，谐音“连中三元”。古代科举制度称乡试、会试、殿试的第一名为解元、会元、状元，合称“三元”。“连中三元”即接连在考试中取得第一名。后者描绘了一位正面端坐的美人，手持一琵琶，旁置一圆桌，上面放有花瓶等物，瓶内插牡丹，寓意平生富贵。人物造型、用色均极典雅，突出表现了美人高贵、优雅的仪态。精妙的面部刻画，使观者仿佛可以窥见其细微的精神世界。

两件作品中的人物形象均让人印象深刻：娃娃健康而可爱，仕女温婉而端庄。在图像的背后，我们可以读出那个时代对于娃娃和女性形象的愿望与理想，这才是这个民族最为朴实、美好的一面。⑨笔者以为，其中的形象与心态，也是历史研究的一部分。如此说来，所有图像都是历史。

结语

最后要说明的是，《中国古版年画珍本》是在全体编撰人员的共同努力下，工作近十年的成果。其中当然包括本文未涉及的湖北美术出版社、中国工艺美术出版社诸位同仁的贡献，及更多的专家、学者、师友的关怀和帮助。⑩

在2007年夏天，笔者曾经对王树村先生做过一次专访⑪。在对话中，先生谈到了自己的年画研究，他说他只是打下了一个研究的基础，他的研究才刚刚开始。我想，本书的出版也是一样，这不是一件事情的终结，而是开始。书出来了，一方面期待大家的检验、批评与指教，另一方面也期待能够带来新的发现与研究。

因此，当这些作品汇聚在一起的时候，笔者希望展现给读者的不仅是年画艺术，还是历史与文化，不仅是艺术史的图景，也是文化史的图景。

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

注释：

① 对于“年画”概念的系统讨论，参见〔日〕三山陵：《“年画”概念的变迁——从混乱到误用的固定》，韩冰译，《中国版画研究》（日中艺术研究会刊）2007年2月第5号，第193—173页。②〔清〕富察敦崇：《燕京岁时记》，北京出版社，1961年，第90页。

③王海霞主编：《中国古版年画珍本》（十一卷），湖北美术出版社，2015年。

④王树村：《关于编撰〈中国非物质文化遗产珍本资料集——古版年画宝鉴〉丛书致王文章院长的一封信》，2006年6月3日。该信的复印件由王海霞老师提供。

⑤ 需要说明的是：杨柳青在汉代为渤海郡章武县地，隋唐两代隶属河北鲁城县（乾符县），金代河北东路武清县在此设柳口镇，元明两代分隶于武清、静海县，清代至民国时期隶属天津县。1948年底解放，设杨柳青市，旋废市改镇，隶属天津县。1949年10月升为河北省辖镇，亦为天津专员公署驻地。1954年改为静海县辖镇。1960年，划入天津市南开区。1962年划入西郊区。（参见天津市西青区地方志编委会：《西青区志》，天津社会科学院出版社，2003年，第102页。）就是说，历史上的“杨柳青”与“天津”很多时候并非隶属关系。目前我们通常所说的“天津杨柳青”，应理解为“今天津市的杨柳青镇”。

⑥以2009年出版的《中国木版年画集成·俄罗斯藏品卷》为例，有学者表示，“仅就眼前编写的图说相较，犹未赶上《苏联藏中国民间年画珍品集》王树村与李福清合写说明的丰富多元”。见a杨永智：《久违逢年画，他乡遇故知——读〈中国木版年画集成·俄罗斯藏品卷〉有感》，冯骥才主编：《年画研究》，中国戏剧出版社，2011年11月，第26页。b〔俄〕李福清：《中国木版年画集成·俄罗斯藏品卷》，中华书局，2009年。

⑦〔英〕柯律格：《明代的图像与视觉性》，黄晓娟译，北京大学出版社，2011年，第1、2页。

⑧ 王树村：《杨柳青年画：民俗生活卷》，台北：英文汉声出版有限公司，2001年，第27页。

⑨ 俄国汉学家，中国年画收藏家、研究者阿理克（旧译阿列克谢耶夫）的一段话曾经让笔者非常感动，他在杨柳青旅行的日记中曾这样写道：“说实在的，我不知道世界上哪一个民族能像中国人民一样用如此朴实无华的图画充分地表现自己。”〔俄〕米·瓦·阿列克谢耶夫：《1907年中国纪行》，阎国栋译，云南出版社，2001年，第23页。

⑩ 本文的写作，针对的是丛书的缘起、结构与理念。主要参考了收录于丛书中的三篇文章，分别是：王文章撰写的丛书“总序”，王海霞撰写的“前言”和“后记”。恕未一一注明。以编辑者视角的介绍，参见湖北美术出版社刘姗撰写的相关文章。刘姗：《不忘初心，方得始终——〈中国古版年画珍本〉（11卷）编辑出版纪实》，《中国美术》2016年第1期，第119—123页。

⑪姜彦文：《我的研究才刚刚开始——对话王树村先生》，《北方美术》2009年4期，第47—49页。

姜彦文：天津美术学院艺术与人文学院讲师

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