《西厢时艺》，又名《雅趣藏书》不分卷，二册清钱书撰。清康熙四十二年（1703）四德堂原刊朱墨套印本。插图单面版式，高二十公分，宽十六点四公分。
按：此书并非曲本之属，不当收录。是书全名《绣像西厢时艺雅趣藏书》，康熙四十二年（1703）朱墨套印本，此书前有作者钱书自序一篇，并清徐鹏、郑鹏举、陈玉序各一，该书刊刻精美，内存八股文二十篇，每篇之前都附版画一幅，并有题诗或词，现藏于国家图书馆。
根据自序落款“吴门钱书酉山手著”（钱书《绣像西厢时艺雅趣藏书》康熙四十二年，以下引文皆出于此书，不另注），乃知其作者钱书字酉山，江苏吴县人，其余生平尚不可知。序中称赞《西厢记》的作者“触乎心，动乎情，发而为文章，其变幻离奇，不可方物，俨若天造地设，鬼斧神工，就此一时之妙境，撰成绝世之奇书”，并表达对《西厢记》的喜爱，称之“天下情文交至”，但又不满那些“执拘墟之见者”将《西厢》称为“淫词艳曲”，因而“不揣谫陋，而偶泄乎意中之所徽，时而为诗歌，时而为词调，时而为八股制体”。
按作者自序的说法，这些八股文乃是自己所作，而且也有书首所附其他序文为证，如徐鹏《序》中便已言明：“……诚今日之文人，固一时之诗伯也。间用狡狯伎俩，散为游戏神通，爰以绣像之《西厢》，创作逢时之八股。”是序落款“年家眷弟徐鹏拜鸣九氏题于南州草堂”，可知徐鹏乃是书作者钱书之眷弟，并且平时多有文辞上的交往。序中赞扬钱书的文采风流，并称当世文人为“一时之诗伯”，把八股文视为“狡狯伎俩”，乃是风流文人顺应时尚偶尔游戏之作，这当然是一种自谦的说法，此序以骈文写就，文辞旖旎，所谓“时艺”于此亦可见一瞥。
序中也交代了创作的方式，乃是“先之以画”，这里的“画”并非钱书重新绘画，而应特指《西厢记》中的插图，书前有陈玉所撰之《序》曰：“适癸未秋，石城有钱子酉山《绣像西厢》藏本，余展卷玩味，不禁为之倾倒。”这里的“画”即钱书所藏《绣像西厢》之插图。然后对画进行新的创作，或赋诗，或因画制词，或作文，总之就是仿照科举八股之“代圣人言”的方法，以《西厢记》中某一佳句为题，代曲本中人物作文，只是目的并不是为了科举考试，而是用以抒写性情，这在卷首所附的另一篇郑鹏举的《序》中说得比较清楚：“天下惟有情之人，能为有情之事，能撰有情之书，能作有情之文章、诗歌。……愿天下有情人，共赏《西厢》之文，识《西厢》之情，而因以赏酉山之文章诗歌，为性情之所发，而非徒作游戏已也。”
今天看来，此书所存之八股文二十篇有许多都与金圣叹评点的第六才子书《西厢记》所附《才子西厢醉心篇》中的相同，有的也只是题同而文异（王颖先生也曾在论文《“〈西厢〉制艺”考论》中对《雅趣藏书》《六才子西厢文》和《才子西厢醉心篇》里面的篇目进行过统计，并有详细列表，此处不作赘述，可详见《人文论丛》2008年卷），可见当时文人在《西厢》制艺的过程中，也慢慢出现了选题经典化的倾向。值得注意的是，这二十篇制艺文文末和文中均有一些批语，如《惊艳怎当他临去秋波那一转》文末就有“风流宕漾，挥毫韵生，视此慧业文人，应生天上，那许俗子问津”的批语，篇中也有诸如“虚笼秋波”“一字一转，一转一意”之类的夹批，这些批点很有可能就是出自钱书友人之手，可见当时据《西厢》以制艺是已经成为一种风尚。据此，《西厢时艺》一书确非戏曲之属，故《版画》不当收录，读者察之。
Western Chamber Shiyi, also known as Yaqu Collection of Books, is not divided into volumes and is composed of two volumes of Qingqian Book. In the 42nd year of the reign of Emperor Kangxi of the Qing Dynasty (1703), the original publication of Sidetang was printed in ink. The illustrations are one-sided, with a height of 210 cm and a width of 16.4 cm.

Note: This book is not part of the song and should not be included. It is the full name of the book, “Embroidery in the Western Chamber”, a printed copy of Zhu Motao in the 42nd year of Kangxi’s reign (1703). There is a preface to the book by the author Qian Shu, and a preface to Xu Peng, Zheng Pengju, and Chen Yuxu. The book is exquisitely carved, and contains 20 eight-part essays. Each of them has a print attached to it, and has an inscription or poem. It is now stored in the National Library.

According to the preface of the book “Wu Men Qian Shu Youshan Handwritten” (Qian Shu’s “Embroidery of the Western Chamber Art and Elegant Interest Collection” in the forty-second year of Kangxi, the following quotations are from this book, without additional notes), it is known that its author Qian Shu is a native of Wu County, Jiangsu Province, and the rest of his life is unknown. The preface praises the author of The Story of the West Chamber for “touching the heart, moving the emotions, and writing articles, which are fantastic, unpredictable, and miraculous. It is just like the creation of heaven and earth. It has created a wonderful book for this moment.” It also expresses its love for The Story of the West Chamber, which is called “the world’s love and literature are handed in”, but it is not satisfied that those who “hold the view of the market” call the Western Chamber “the” pornographic song “, Therefore, “don’t try to be simple, but occasionally let out what you want. Sometimes it is poetry, sometimes it is tone, sometimes it is eight-part system”.

According to the author’s preface, these eight-part essays were written by himself, and there are also other prefaces attached at the beginning of the book as evidence. For example, Xu Peng’s Preface has said: “… a scholar of today is a poet of a long time. He used cunning tricks to break up the magic of the game, so he created the eight-part essay at the right time with the embroidered” Western Chamber “.” It is the preface that wrote “Xu Peng, the younger brother of the family of the year, worshipped the nine inscriptions in the Nanzhou Thatched Cottage”, It can be seen that Xu Peng is the brother of Qian Shu, the author of the book, and he often has literary contacts. The preface praises Qian Shu’s literary grace and elegance, and calls the current literati “the poet of the moment”, and regards the eight-part essay as “a cunning trick”, which is the work of the fashionable literati who occasionally plays games in compliance with the fashion. This is of course a humble statement. This preface is written in parallel prose, with beautiful diction, and the so-called “time art” can also be seen here.

The preface also explains the way of creation, which is “painting before painting”. The “painting” here is not the re-painting of Qian Shu, but the illustration in the West Chamber. In front of the book, there is a preface written by Chen Yu, which says: “In the late autumn, there is a collection of Qian Ziyou Mountain’s Embroidery West Chamber in Shicheng, and the rest of the exhibition volumes are interesting, and I can’t help but be overwhelmed.” The “painting” here is the illustration of Qian Shu’s Embroidery West Chamber. Then we can create new paintings, or compose poems, or write poems based on paintings, or write compositions. In short, we can imitate the method of “the sage’s words” in the Eight-part Imperial Examination, and take a good sentence in “The Story of the Western Chamber” as the title. The purpose of the composition of the characters in the opera is not to take the imperial examination, but to express our temperament, This is clearly stated in another preface by Zheng Pengju attached to the first volume: “There are only people with love in the world who can do things with love, write books with love, and write articles and poems with love… I hope that there are lovers in the world who can appreciate the articles of the West Chamber and know the feelings of the West Chamber, and because of appreciating the articles and poems of Youshan Mountain, it is not just for playing games, but for temperament.”

Today, it seems that many of the 20 eight-part essays in this book are the same as those in the Enchanted Chapter of the Western Chamber, which is attached to the sixth book of the Western Chamber by Jin Shengtan, Some of them have the same title but different text (Mr. Wang Ying also made statistics on the contents of the “Elegant Collection”, “Six Talents in the Western Chamber” and “The Enchanted Chapter of the Western Chamber” in his paper “Examination of the Art of the Western Chamber”, and has a detailed list, which is not to be repeated here, but can be seen in the 2008 volume of the “Humanities Collection” for details). It can be seen that the literati at that time also slowly appeared the tendency of canonization in the process of making the art of the Western Chamber. It is worth noting that there are some comments at the end of these 20 art articles and in the article, such as “How can he turn when he is gone?” At the end of the article, there is a comment that “the wind is flowing, the hair is waving, and the scholar should be born in the sky, and the vulgar people should ask for help”. There are also some comments such as “empty cage autumn wave”, “one word turns, one meaning”, which are probably from the hands of friends of Qian Shu, It can be seen that according to the Western Chamber at that time, the art of making has become a fashion. Therefore, the book “Western Chamber Shiyi” is not a drama, so the book “Printmaking” should not be included and the readers should observe it.

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