朱蔚荣所藏“凤江炉”炉身图像考释

Textual Criticism and Explanations of Images on Hand- Warmer Made by Fengjiang and Collected by Zhu Weirong

徐州朱蔚荣先生珍藏的明代手炉,铜质匀净,炉盖严密,历久而不失光泽,更兼刀工技法纯熟,线条舒展,纹饰精美。从款识、用料及雕工来看,当为著名匠人王凤江的作品。王凤江生活于明代中后叶,万历年间已成名,或是嘉靖年间生人。朱藏"凤江炉",炉身两面皆有人物图案,且神态各异,栩栩如生。经细致考察,这两幅图像分别表现的,殆即汪廷讷所撰《狮吼记》第九出《奇妒》、第十六出《顶灯》之相关场景。这一重要发现,对明代戏曲演出形态、剧目之传播与接受等研究均很有帮助,可补目前学者论述之未逮,并启示研究者,于传统的文本文献研究和常见的戏曲专属文物(如古戏台等)研究之外,还应关注业已融入古代日常生活的某些戏曲元素(如剪纸、年画、刺绣、瓷器、铜器、家具、门窗、瓦当等),此或为古代戏曲研究拓展出一条新的路径。

Hand - warmer was made in Ming dynasty and collected by Mr. Zhu Weirong. It is neat in its cooper mate- rial, and its lid is tight, it still shines through many years, and it is sophistical in engraving, its lines are stretching and its patterns are exquisite. Viewed from inscriptions, material, and engraving skill, it should be a work engraved by famous craftsman Wang Fengjiang. Wang Fengjiang lived in mid and late periods of Ming dynasty and became well - known in Wanli period. There are figures and images carved on two sides of Fengjiang hand - warmer collected by Zhu Wei. Such two paintings reflect two scenes of Shi Hou Ji. This significant finding not only helps a lot for the re- search of the performing form of opera, transmission and acceptance of plays in Ming dynasty, but also reminds re- searchers to pay attention to some opera factors in daily life such as scissor - cut, spring festival painting, embroidery, porcelain, bronze wave, furniture, door and window, and eaves tile besides traditional textual familiar opera cultural relics such as ancient stage. This perhaps could develop another new way for ancient opera studies.