| Summary: | 碩士 === 國立臺灣大學 === 藝術史研究所 === 84 === Ch''en Hung-shou''s illustrations to Chang Shen-chih Cheng Pei
Hsi-hsiang Mi Pen（The Edition of Chang Shen-chih''s Correction of
The Northern Western Chamber）is a very important work in Chinese
art history. Many scholars discussed that work , including
Huang Yung-ch''uan, Wang Po-min, James Cahill, and Hiromitsu
Kobayashi. Huang and Wang think Ch''en Hung-shou''s illutrations
to the woodcut print can be regarded as the representive of the
popular art of his time. However, Cahill thinks that woodcut
print in Ming Dynasty is the product of the literati; therefore,
Chen''s work betrays the elite''s interpretion of the popular
literature. Nevertheless, because Cahill emphasizes the repre-
sentitiveness of Ch''en''s work, without taking the difference
between his and other editions in consideration, Kobayashi futher
compares Ch''en''s illustrations with other Western Chamber
editions, and discerns that Ch''en''s creativity lies on creating
of a new woman image.
My thesis is to penetrate more deeply into the meaning of
Ch''en''s illustrations to this edition, and solve the problems
as follows : What is his new woman image and how does it
mean to Ch''en''s literati class? And what is Ch''en''s artistic
achievement in the illutrations? The first charpter of this
thesis is a survey on Chang Shen-chi''s and the “Taking Part
Correctors”'' roles on editing this edition. The second charpter
further discusses the purpose of Ch''en''s activity of
illustrating. The third charpter analizes how Ch''en combines
archaic style with dramatic pose to express the figures'' inner
feelings. The fourth charpter presents the creativeness of the
new woman image. After these surveys, my conclusion is that
this edition results from Ch''en''s emphasis on love drama, and
the woman image represents the pressured women in his time.
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