畫譜、畫本與歌留多：江戶時代唐詩圖像編集的信息轉譯

From the Illustrated Anthology, the Illustrated Book, to the Karuta: Information Translation of Tang Poetry Imagery Compilation in the Edo Period

晚明黃鳳池編《唐詩畫譜》東傳日本後，為江戶文化帶來不少影響。其詩畫相配的特色除了供日人品賞唐詩景貌或意境之外，亦成為漢畫畫者的學習粉本。與此同時，題李攀龍編《唐詩選》大行其道，江戶書林中的嵩山房策劃為其配上插畫，編刊而為《唐詩選畫本》，其早期的版本便多方參仿了《唐詩畫譜》。由是《畫譜》部分畫作被呼召再現，更用以重構不同的詩歌造像。後來嵩山房以《畫本》（主要是初編和二編）為底本，製作民間非常流行的歌牌《唐詩選歌留多》，成為當時誦習漢詩者蒙習或玩樂競技的工具。從《畫譜》、《畫本》到《歌留多》，可看成江戶時代唐詩圖像編集與傳播的重要媒介，當中圖像信息的承傳流衍，反映着詩畫構置的轉變，閱讀方式的轉換，以至於圖像修辭的轉譯，這些都是近世唐詩意象流轉的重要環節。

After the publication of Huang Fengchi's Illustrated Anthology of Tang Poetry in the late Ming Dynasty and its transmission to Japan, it significantly influenced Edo culture. The unique feature of pairing poetry with painting not only provided the Japanese with an appreciation of the aesthetic realm of Tang poetry but also served as a study model for Chinese painters. At the same time, Li Panlong's the Selection of Tang Poetry gained popularity, and the publishing house in Edo, Suzanbo, planned to create an illustrated version, Illustrated Book of Tang Poetry, which was largely inspired by Illustrated Anthology of Tang Poetry. Consequently, certain artworks from the ''Illustrated Anthology'' were called upon to be reproduced, even being used to reconstruct different poetic images. Later, Suzanbo used the Illustrated Book of Tang Poetry (primarily the first and second volumes) as the basis to produce a very popular folk-themed card game, Selection of Tang Poetry Karuta which became a tool for beginners of Chinese poetry to learn and enjoy competitive games. From the Illustrated Anthology, the Illustrated Book, to the Karuta, these works became important mediums for the dissemination of Tang poetry imagery during the Edo period, reflecting the transformations in the construction of poetry and painting, changes in reading methods, and the translation of visual rhetoric, all of which are significant parts of the modern transformation of Tang poetry imagery.