品花評豔──論《吳姬百媚》的文學評點與圖像敘事

Appreciation of Pin Hua-On Literary Criticism and Image Narration of Wu Ji Bai Mei

明代文人與名妓來往酬唱為生活的常態，青樓書寫蔚為風氣，當晚明評點的風氣跨及風月場所，「花榜品評」成為青樓評點的形式之一。《吳姬百媚》即為明末青樓花榜品評書寫的文學作品，全書的刊刻出版，實與作者身為出版家、評點家兼散曲家的身份有極大的關聯性，然而作者宛瑜子的真實身分卻尚未清楚爬梳論證，因此本文首要考察文本作者宛瑜子的身分，其次從花案選美與文學評點探究《吳姬百媚》的選美活動與文學評點，進而探究作者的性別觀看、權力批評與青樓敘述等文學論題。《吳姬百媚》的刊本跟隨著明代出版市場中，雕版刻畫隨著書籍大量刊行的潮流，全書依花榜名次錄載多幅的女妓圖，內容包羅吳姬各式各樣的百媚姿態如凭闌、彈棋、美球、撫琴、花名、望月、攀花、採蓮、泛舟等，每幅圖片呈顯吳姬所處的居室或園林情境，青樓的空間佈置雅緻，名姬們或站、或臥或從事動態與靜態的活動，皆流露出風雅的韻致，因此第三部分從女妓圖像的視覺觀看，探究圖像中所呈現的青樓空間與女性的姿態展演，最後藉文本開啟的百美圖風潮，論述相關的青樓文學作品。 It was a common practice for the men of letters of the Ming dynasty to interact with famous prostitutes by means of reciting poems and tales be the norm in their lives. The brothel writings were written in that unique aura. When the atmosphere of the night was clearly judged and the place of Fengyue was celebrated, the “Flower List Review” became one of the forms of the commentaries. Wu Ji Bai Meiis the literary work written by the Qing Dynasty’s Lou Louhua school. The publication of the book was inextricably related to the author’s identity as a publisher, reviewer and Sanqu writer. The author is ascribed to Wan Yuzi, though the real identity has not yet been finally established. Therefore, this paper first examines the identity problem of the text author Wan Yuzi. Second, he explores the beauty pageant and literary review of Wu Ji Bai Meifrom flower pageant beauty and literary criticism, and then explores the author’s gender perspective and power exercise. Brothel narratives and other literary topicswere popular then. The publication of Wu Ji Bai Meifollowed the trend of publishing in the Ming Dynasty publishing market with a large number of published books. The book records a number of female portraits according to the ranking of the flowers. The contents include various gestures such as in Wu Ji.Bai Mei. The sights in the room or garden in which Wu Ji is located are shown in each picture, such as Pingyan, Qiangqi, Meiqiu, Fuqin, Hua Ming, Wangyue, Panhua, Cailian, and white water rafting. Their gestures and postures, either lying or engaging in dynamic and static activities, all exude their elegant charms. Therefore, in the third part, from the visual observation of the prostitutes, we explore the garish space and the female gestures presented in the images. The paper concludes with summarizing the trend of exalting the picture of One Hundred Beauties as related to literary works of the prostitutes.

It was a common practice for the men of letters of the Ming dynasty to interact with famous prostitutes by means of reciting poems and tales be the norm in their lives. The brothel writings were written in that unique aura. When the atmosphere of the night was clearly judged and the place of Fengyue was celebrated, the “Flower List Review” became one of the forms of the commentaries. Wu Ji Bai Meiis the literary work written by the Qing Dynasty’s Lou Louhua school. The publication of the book was inextricably related to the author’s identity as a publisher, reviewer and Sanqu writer. The author is ascribed to Wan Yuzi, though the real identity has not yet been finally established. Therefore, this paper first examines the identity problem of the text author Wan Yuzi. Second, he explores the beauty pageant and literary review of Wu Ji Bai Meifrom flower pageant beauty and literary criticism, and then explores the author’s gender perspective and power exercise. Brothel narratives and other literary topicswere popular then. The publication of Wu Ji Bai Meifollowed the trend of publishing in the Ming Dynasty publishing market with a large number of published books. The book records a number of female portraits according to the ranking of the flowers. The contents include various gestures such as in Wu Ji.Bai Mei. The sights in the room or garden in which Wu Ji is located are shown in each picture, such as Pingyan, Qiangqi, Meiqiu, Fuqin, Hua Ming, Wangyue, Panhua, Cailian, and white water rafting. Their gestures and postures, either lying or engaging in dynamic and static activities, all exude their elegant charms. Therefore, in the third part, from the visual observation of the prostitutes, we explore the garish space and the female gestures presented in the images. The paper concludes with summarizing the trend of exalting the picture of One Hundred Beauties as related to literary works of the prostitutes.