明代戏曲藏书考论  

On Collection of Opera Books in the Ming Dynasty

作　　者：徐子方[1] XU Zifang

机构地区：[1]东南大学戏曲小说研究所,南京211189

出　　处：《华南师范大学学报（社会科学版）》2021年第5期190-204,208,共16页Journal of South China Normal University：Social Science Edition

基　　金：国家社会科学基金项目“脉望馆抄校本古今杂剧研究”(13BZW085);江苏省社会科学基金项目“赵琦美钞校本古今杂剧考论”(19WMB061)

摘　　要：明代是戏曲藏书繁盛和全面发展的朝代,总体上呈现出宫廷与个人互动消长流变之势,包括宫廷收藏、戏曲家收藏、藏书家收藏、刻书家收藏四大块。上自贵族藩王、朝廷高官,下至文人处士、书坊业主多所参与,呈现出宫廷戏曲藏书向社会流动趋势。地域上则南北分合,基本符合传统文化重心流动的进程。这样的情形,既大体展示了一代戏曲藏书及书目著录状况,也代表了古代藏书领域的整体经纬。The Ming Dynasty was a period of prosperous and all-round development of opera collection,which showed the trend of the interaction between the court and individuals,including the palace collection,opera collector collection,book collector collection and calligrapher collection.From the noble vassals and senior officials of the imperial court down to the literati and the owners of the bookshops,all of them participated in the collection,showing a tendency of flowing from the palace to the common people.Geographically,the north and the south divide and merge,basically in line with the shift of traditional cultural center.It not only shows the state of the collection of opera books but also represents the overall picture of book collection in ancient times.

关 键 词：戏曲文献 藏书史 刊刻 明王朝 

分 类 号：I239[文学—中国文学]