论五代至北宋中期士大夫对雕版印刷术所持的心态——以冯道、毋昭裔、欧阳修及王安石为中心

On the Mentalities of the Scholar-officials in the Period from the Five Dynasties to the Northern Song Dynasty about Engraving Printing——With a Focus on Feng Dao,Wu Zhaoyi,Ouyang Xiu and Wang Anshi

雕版印刷术用于印制儒家经籍,其开端不晚于初唐,扩张于五代,而精于宋代。五代时期,冯道、毋昭裔等上层士人将雕印儒家经籍作为一项国家事业来推行,在当时具有较强的示范效应;同时他们在雕印儒家经籍的过程中,对石刻文字及写本具有一定的“路径依赖”。至北宋中期,士大夫逐渐将雕版印刷术视为技术赋权的手段:官刻被士大夫阶层所接受;而对于民间出版,士大夫阶层的普遍心态是:它可能重塑政治文化生态,造成知识的开放化和庸俗化,对朝堂政治的权威性造成威胁。无论如何,新媒介技术势必在政治公共化和审美大众化方面有更突出的偏向,人们对新媒介技术的心态基于此而产生分野。

The application of engraving printing into printing Confucian classics started from no later than Early Tang,sought expansion in the Five Dynasties and reached a perfect state in the Song Dynasty.During the period of Five Dynasties,the upper-class scholars,including Feng Dao and Wu Zhaoyi,promoted the engraving and printing of Confucian classics as a national endeavor,which had a strong demonstration effect at that time.Besides,they developed certain“route reliance”upon stone-engraved characters and hand-copied books while engraving and printing Confucian classics.In the mid-Northern Song Dynasty,scholar-officials gradually regarded engraving printing technique as a means of technical empowerment:government-sponsored printing was readily accepted by the scholar-officials,but they thought of private publishing generally in the following way:it might rebuild the ecosphere of politics and culture,result in openness and vulgarization of knowledge,and threaten the political authority of the imperial court.In any case,the new media technology was bound to be more biased towards political publicization and aesthetic popularization,and on this basis people’s mentalities about new media technology differed.