清末石印的興起與上海日本畫譜類書籍的流通：以《點石齋叢畫》為中心

The Rise of Lithography and the Circulation of Japanese Painting Manuals in Late Qing Shanghai: A Study Focusing on Dianshizhai conghua

本文處理以往很少學者注意到的晚清日本畫譜類書籍的進口，不僅是重現此歷史現象，且是將其放在晚清石印產業的發端與榮景下來觀察。這兩個現象的綰結，事實上提供了一個了解技術、形式、閱讀文化與跨國交流間複雜關係的難得個案。尤其考慮到近年來歐洲書籍史的研究，在傳統的書目學與單純文本分析研究之外，漸漸注意到文本的物質形式如何成為了解閱讀文化內涵之關鍵。因此，為了能更細緻地分析上述面向間的關係，本文將焦點於點石齋書局所編輯出版的第一本綜合型畫譜《點石齋叢畫》，一方面考慮十九世紀下半引入上海商業印刷業之石印技術，及其所引發的文本物質形式之改變，究竟帶來何種新的生產、消費與閱讀文本的改變？另一方面，我們除了重建以上海為中心的日本書籍進口之市場外，也將指出《點石齋叢畫》事實上包含很多以往沒有注意到的日本來源圖像，並分析這些源自日本畫譜的圖像如何在收錄與複製的過程中被重新編輯與改寫，從而進一步解析日本畫譜之圖像究竟如何在中國的脈絡下被閱讀與接受。

This article discusses the rarely explored phenomenon of the importation of Japanese painting manuals in Shanghai during the late Qing period. It not only aims to reconstruct the cultural scene that enabled the trade, but also to situate it in the context of exciting new printing cultures, especiaIIy Iithography. The confluence of these two trends offers a unique case study to venture into the multiple-layered relations between technology and material culture, and, most importantly, to examine how they engaged with reading culture under the circumstances of transcultural exchange. This articles focuses on a general painting manual published by Dianshizhai in 1881 and republished in 1886, entitled ＂Dianshizhai conghua.＂ First, I examine the changes in the material forms of books, especially in the practice of their production and consumption, all of which resulted from the new application of lithographic printing. I then reconstruct the Japanese book market in Shanghai and investigate how it took advantage of the rise in lithographic printing. Finally, T explore why Japanese painting manuals were so popular and how Japanese images were read and comprehended in the Chinese context before the First Sino-Japanese War broke out in 1894.