查詢結果分析
來源資料
頁籤選單縮合
| 題 名 | 抗戰前後鄭振鐸的整理國故與刊印古籍工作=The Work of Cheng Chen-tuo in Restoring National Heritage and Publishing Old Books before and after the Resistance War Against Japan |
|---|---|
| 作 者 | 林清芬; | 書刊名 | 國家圖書館館刊 |
| 卷 期 | 88:1 1999.06[民88.06] |
| 頁 次 | 頁77-110 |
| 分類號 | 782.88 |
| 關鍵詞 | 鄭振鐸; 整理國故; 玄覽堂叢書; 十竹齋箋譜; 北平箋譜; 世界文庫; 明季史料叢書; Cheng chen-tuo; Restoring national heritage; The deciphering hall series; Compendium of letters formats of the ten bamboos studio; Compendium of letters formats of peking; The collection of world famous works; Series of late-ming historical materials; |
| 語 文 | 中文(Chinese) |
| 中文摘要 | 鄭振鐸對於我簡新文化運動的發展有其重要的地位，他在文化上的活動與貢獻是多方面的。除了是有名的藏書家，為國家搜羅孤本珍籍外，無論在版本圖籍、版畫藝街、文物鑑定、歷史考古、古典文學和戲曲，或者現代文學等方面，他都有傑出的成績。而對於中國文化遺產的整理與刊印上，他更是不遺餘力。 1919年，胡適撰寫〈新思潮的意義〉乙文，將「整理國故」列為新文化運動的四項綱領之一，並獲得北大同人熱烈響應，「整理國故」迅即成為一句學術新口號，就在數年之間，「整理國故」更以新一波學術文化運動的形式席捲全國。而鄭振鐸亦主張在新文學運動的熱潮裏，應有「整理國故」的一種舉動，要重新佑定或發現中國文學的價值。抗戰前後，他身體力行，逐漸將其文化志業，轉向編著文學史、「整理國故」、搜購古籍及學術論著方面。 在「整理國故」及文學研究方面，鄭振鐸是抱持著「不薄今人愛古人」及「狂臚文獻耗中年」的態度。他先是為國家拾購了珍貴的文化遺產《脈望館抄校本古今年雜劇》，接著，在抗戰最艱苦的時候，與「文獻保存同志會」的其他成員，成功地為國家搜購大量珍貴的古籍，造就今日國家圖書館善本古籍的珍藏。此外，在商務印書館豐富的編緝經歷、強烈的文化使命感，及勤奮的工作精神，使他大量且幾乎是獨力完成許多編輯及刊印古籍的工作：如編印刊行《北平箋譜》、《十竹齋箋譜》、《中國版畫史圖錄》、《韞輝齋藏唐宋以來名畫集》、《域外所藏中國古畫集》、《清人雜劇初集》、《清人雜劇二集》、《長樂鄭氏匯印傳奇第一集》、《玄覽堂叢書》、《世界文庫》、《明季史料叢書》、《中國歷史參考圖譜》、《晚清文選》等等，皆是不易之事。而最能彰顯出他藏書家的特色的則是在題跋、書話、書目的編撰上，如《西諦所藏善本戲曲目錄》、《西諦所藏散曲目錄》、《劫中得書記》、《求書日錄》、《西諦書目》、《西諦書話》等等，皆是他訪書、購書、讀書的心得。他會化名為「紉秋山館主人」撰寫〈《明季史料叢書》序〉，強調「史不亡則其民族亦終不可亡」的觀念。郭沫若在《中國歷史參考圖譜》乙書出版時，讚揚道：這是應該國家做的工作，而鄭先生以一人，乏力要把它完成，每一中國人，凡有力量的都應該贊助他這一工作。」可見鄭振鐸對「整理國故」與刊印古籍工作，用力整勤與貢獻之卓著。 |
| 英文摘要 | Cheng Chen-tuo has an important status in the development of the New Cultural Movement in China, and his cultural activities and contributions are many and various. Being a famous collector of books ferreting out rare and precious old books for the nation, he also made outstanding contributions in the fields of editions of books, art of block prints, evaluation of artifacts, historical archeology, classical literature and drama and music, as well as in modern literature. Moreover, he reserved no efforts in the restoration and publication of national cultural heritage. In 1919, when he wrote his "The Meaning of New Thought", Hu Shih listed 'restoration of national heritage' as one of the four programs of the New Cultural Movement, to which his colleagues at National Peking University responded with enthusiasm, and the 'restoration of national heritage' soon become a new academic slogan. Within just a few years, this had assumed a new form of academic cultural 'movement' enveloping the whole nation. In response to Hu Shih, Cheng Chen-tuo also held that in the high tides of the new literary movement, there should be an action to restore national heritage, and a reevaluation or rediscovery of the value of Chinese literature. After the War of Resistance against Japan, he put this view into practice. and gradually shifted his cultural devotion to such aspects as editing history of literature, restoring national heritage, looking for and buying old books as well as academic writing. With respect to restoring national heritage and literary research, Cheng Chentuo adopted a two-pronged attitude that "there should be no dislike of the present nor a fondness of the old" and "the middle age is to be devoted to written materials". He firstly snapped up for the nation a precious cultural heritage entitled Classical and Contemporary Miscella/leous Dramatic Scores as copied and edited by the Mai-wang House, and then in the most difficult years of the War of Resistance, together with other members. of the Documents Preservation Federation, he succeeded in purchasing for the nation large number of precious classical books, which now form part of the precious collection of old and well-preserved classical books at the National Central Library. Besides, on the basis of his rich editing experience gained at the Commercial Press, his strong sense of cultural mission, and his diligent working spirit, he was able to execute a large number of undertakings---and many of which were almost single-handedly by himself alone---for editing and publishing old books. These include Compendium of Letter Formats of Peking, Compendium of Letter Formats of the Ten Bamboos Studio, Pictorial Record of China's Block Printing History, TheYun-hui Studio's Collection of Famous Pictures since the Tang and Sung Dynasties, Collection of Old Chinese Pictures kept in Foreign Counties, First Collection of Miscellaneous Dramatic Scores by Ch'ing People, Second Collection of Miscellaneous Dramas by Ch'ing People, First Collection of Romance as compiled and printed by the Chengs of Chang-le, The Deciphering Reading Hall's Series, the Collection of World Famous Works, Series. of Late-Ming Historical Materials, Pictorial Reference for Chinese History, Literary Selections from Late-Ch'ing, etc., all of these undertakings were not easy tasks. Those that most capable of illustrating his caliber as a collector of books lay in his editing and writing of introductions to, and discussions of collections, books and bibliographies, as found in Si-ti's Bibliography of Well-preserved Texts of Dramatic Scores, Siti's Bibliography of Exant Verses, Account of Acquiring Books under Threats of Disasters, Dairy on Looking for Books, Si-ti's Bibilography, Si-ti's Talks about Books, etc., all these are concerned with findings about looking for and purchasing as well as reading of books. He once used the pen name 'the owner of the Zen-chiu Mount' in his preface to Series of Late-Ming Historical Materials, in which he put forward the view that "as long as history does not perish, a nation will after all not vanish" At the publication of Pictorial Reference for Chinese History, Kuo Mojo praised it with the following words: "This is a task that the nation should do, but Mr. Cheng himself is determined to have it carried out alone. Every Chinese having any capacity should help do this undertaking:' From this it may be glimpsed Cheng Chen-tuo's utmost diligence in, and distinguished contribution to restoring national heritage and publishing old books. |
本系統中英文摘要資訊取自各篇刊載內容。