清代时调抄刻与民族文化趣尚研究

A Study on the Copying and Engraving of the Qing Dynasty Tune and the National Cultural Interest

作为民族治理的基本方略,分城而居在清代各地城坊的区划中有着举足轻重的意义。以清代北京地区而论,这种畛域分明的空间设置,使得内外城民众在曲调好尚与抄刻方式的择取上隐现出面目迥异的文化面貌。具体而言,乾隆以后北京内城旗民唱曲风尚日盛,使得岔曲、马头调等曲调在内城旗籍民众间风靡的同时,亦不可避免地打上了八旗文化的烙印。与此同时,诸如百本张等手抄书坊,其经营地点与潜在读者又均在内城,故在消费导向下往往亦以此类曲调作为主营,继而在唱本抄售过程中相较外城兄弟民族呈现出多元化的曲调偏好。至于外城书坊,则以刻本居多,其销售市场面向外城,与手抄书坊界限分明,是以在时调的选择与刊刻上亦以外城民众所熟习的曲调为主。此外,受历朝右文政策所影响,京师旗籍民众两百余年来于礼乐文化浸淫日深,其文化审美倾向亦与定鼎之初大相径庭,故在抄本唱词中往往呈现出清新可喜的文学风味。尤其是在古典诗词的熔铸化用上,此类唱本与当时一般时调中取媚流俗的轻佻做派判若天渊,在欣赏群体上也呈现出明显的底层士大夫烙印,至于抄本书坊在内城唱本销售中的优势地位,则使得这种审美取向在文本复制的同时被不断放大,表现得尤为显豁。我们对其间种种诱因的考索与探讨,则可以在坊市区隔的边际效应与抄本书坊的策略选择下,勾勒出民族审美趣尚升降与流动的轮廓,而这些也成为清代城坊空间中民族融合的一大力证。

As the basic strategy of ethnic governance in the Qing Dynasty,the separation of the Eight Banners and the Han ethnic group was of great significance in the division of ethnic groups in the capital.In terms of the design of the city square in Beijing in the Qing Dynasty,this well-defined space design,which was reflected in the national aesthetic interest,shows a diversity of harmony but differences.Taking the singing,narration and copying of tunes in Beijing in the Qing Dynasty as an example,people in inner and outer cities had different cultural features in the choice of tune preferences and copying methods.After the reign of Emperor Qianlong,due to the popularity of singing among the people of the Eight Banners in the inner city of the capital,Chaqu and Matou tune became popular among the people of the Eight Banners in the inner city.At the same time,it was inevitably branded with the Eight Banners.For example,the business locations and potential readers of hand copied bookstores such as Baibenzhang were in the inner city.Therefore,under the consumption guidance,the owners of such bookstores often take such tunes as their main business,and then showed a different tune preference from the Han and Hui ethnic groups in the outer city in the process of copying and selling phonograms.As for the outer city bookstores,it was not the case.Most of these bookstores were engraving bookstores,and their sales market was also oriented to the Han people in the outer city.There was a clear boundary between the consumer group and the manual bookstores.Therefore,the selection and printing of tunes were also dominated by the tunes familiar to the people in the outer city.In addition,influenced by the policies of advocating culture in previous dynasties,the people of the Eight Banners in the capital have been increasingly influenced by the ritual and music culture for more than 200 years,and their cultural aesthetic tendency was also very different from that at the beginning of entering the customs.For this reason,there was often a fresh and gratifying literary flavor in the lyrics of Beijing transcripts in the Qing Dynasty.In addition to the differences between the choice of tunes and the copying and printing of phonograms,the fresh and gratifying literary flavor presented in the hand copied phonograms in the inner city of the Qing Dynasty,especially in the integration of classical poetry,was also very different from the vulgar style of flattering the vulgar in the general tone at that time.As for the dominant position of the copybook bookstore in the sales of inner city libretto,this aesthetic orientation was constantly amplified while the text was copied,and was more distinctive with the spread of sales channels.Through the investigation of the copying bias of some special tunes in Beijing manuscript workshop in the Qing Dynasty,in addition to finding some unknown group psychology and the marketing mentality of the bookstore at that time,we also provide a more detailed perspective for modern people to interpret the flow of national cultural interests in the capital of the Qing Dynasty,and even consider the projection of this national integration factor in the history of literature under the cover of the text.