發(fā)布時(shí)間：2018-05-21 01:43

  本文選題：南京 + 通俗小說(shuō)插圖　； 參考：《四川師范大學(xué)》2017年碩士論文

【摘要】：南京是明代的一大刊刻中心,這里所刊刻的通俗小說(shuō)插圖具有重要的研究?jī)r(jià)值:一個(gè)是插圖風(fēng)格的演變,還有一個(gè)是圖文關(guān)系,這反映了有明一代版畫(huà)插圖的面貌及其演變規(guī)律。本文研究即如下展開(kāi):第一章“明代南京通俗小說(shuō)插圖的刊刻”。南京坊刻業(yè)之所以如此繁榮,原因既在于南京是明王朝的經(jīng)濟(jì)和文化中心,也在于明政府寬松的文化政策、南京地區(qū)便利的交通和人才在當(dāng)?shù)氐木奂�。�?jù)筆者統(tǒng)計(jì),明代南京25家書(shū)坊共刊刻了45種通俗小說(shuō)。第二章“明代南京通俗小說(shuō)插圖風(fēng)格及演變”,這是本文重點(diǎn)。自鄭振鐸以來(lái)的學(xué)者都認(rèn)為,插圖風(fēng)格具有地域性特點(diǎn),比如“建安風(fēng)格”、“金陵風(fēng)格”、“徽派風(fēng)格”等等,并且插圖的風(fēng)格由刻工決定。然而,南京插圖的風(fēng)格并非南京一地所獨(dú)有,插圖風(fēng)格的形成也并非刻工所決定。這就意味著,我們要拋棄固有的結(jié)論,重新認(rèn)識(shí)插圖風(fēng)格。本文不僅辨析了鄭振鐸的有關(guān)插圖風(fēng)格的說(shuō)法,也就是“刻工論”與“區(qū)域論”,還通過(guò)對(duì)比當(dāng)時(shí)其他地區(qū)的通俗小說(shuō)插圖、戲曲版畫(huà)以及民間年畫(huà)作品、詩(shī)詞集插圖,追本溯源,最終明確了南京通俗小說(shuō)插圖的真正風(fēng)格,是為民間美術(shù)風(fēng)格與畫(huà)家風(fēng)格。而南京通俗小說(shuō)插圖之所以會(huì)從民間美術(shù)風(fēng)格向畫(huà)家風(fēng)格演變,其原因既有書(shū)坊主的作用也有社會(huì)經(jīng)濟(jì)人文因素的推動(dòng)。第三章“南京通俗小說(shuō)插圖圖文關(guān)系”,同樣是本文重點(diǎn)。由于南京通俗小說(shuō)插圖由圖繪和圖題兩部分構(gòu)成,所以它的圖文關(guān)系包括了圖繪圖文關(guān)系和圖題圖文關(guān)系。目前學(xué)術(shù)界基本上是在研究圖繪與是否正文相符、圖繪如何與正文相符,而這些都是圖繪圖文關(guān)系的研究?jī)?nèi)容。至于南京通俗小說(shuō)插圖的另一構(gòu)成部分,圖題,則鮮有人問(wèn)津,相應(yīng)的圖題圖文關(guān)系也被人忽略。而且,南京通俗小說(shuō)插圖圖文關(guān)系本身并不是一個(gè)抽象概念,它通過(guò)圖繪和圖題來(lái)反映,而這層關(guān)系的背后又蘊(yùn)含著實(shí)質(zhì),這就是圖文關(guān)系的“外在呈現(xiàn)”與“內(nèi)在機(jī)理”。然而,這同樣被人忽視。有鑒于此,本文不僅明確了如何研究南京通俗小說(shuō)插圖圖文關(guān)系,還找到了行之有效的研究方法,即“語(yǔ)-圖”互文理論和圖像學(xué)理論。本文通過(guò)“外在呈現(xiàn)”分析南京通俗小說(shuō)插圖的圖繪圖文關(guān)系和圖題圖文關(guān)系,又通過(guò)“語(yǔ)-圖”互文理論和圖像學(xué)理論分析其“內(nèi)在機(jī)理”。
[Abstract]:Nanjing is a major publishing and engraving center in Ming Dynasty. The illustrations of popular novels published here have important research value: one is the evolution of illustration style, and the other is the relationship between illustration and text. This reflects the Ming Dynasty printmaking illustrations of the face and the evolution of the law. The research of this paper is as follows: the first chapter is the publication of illustrations of popular novels in Nanjing in Ming Dynasty. The reason for the prosperity of Nanjing is not only because Nanjing is the economic and cultural center of the Ming Dynasty, but also because of the loose cultural policy of the Ming government, the convenient transportation and the gathering of talents in Nanjing. According to the author statistics, the Ming Dynasty Nanjing 25 calligraphy workshops published a total of 45 popular novels. The second chapter, illustrative style and evolution of Nanjing popular novels in Ming Dynasty, is the focus of this paper. Since Zheng Zhenduo, scholars believe that illustrations have regional characteristics, such as "Jian'an style", "Jin Ling style", "Hui style" and so on, and the illustration style is determined by the engraver. However, the style of illustrations in Nanjing is not unique to Nanjing, and the formation of illustrations is not decided by engraving workers. This means that we have to abandon the inherent conclusions and re-understand the illustration style. This paper not only distinguishes and analyzes Zheng Zhenduo's theory of illustration style, that is, "engraving theory" and "region theory", but also compares the illustrations of popular novels, opera prints, folk New year paintings and poetry collections in other regions at that time. Tracing back to the source, the true style of illustrations in Nanjing popular novels is for folk art style and painter style. The reason why the illustrations of popular novels in Nanjing evolved from folk art style to painter style is because of the role of book owners and the promotion of social and economic factors. The third chapter, the relationship between illustrations in Nanjing popular novels, is also the focus of this paper. Because the illustrations of popular novels in Nanjing are composed of two parts: drawing and drawing, its graphic and text relations include the relation between drawing and the relation between picture and text. At present, the academic circles are basically studying whether the drawing is consistent with the text, and how the drawing is consistent with the text, and these are all the contents of the research on the relationship between the drawing and the text. As for the other part of the illustrations of popular novels in Nanjing, few people ask questions, and the relationship between pictures and texts is neglected. Moreover, the graphic relation of illustrations in Nanjing popular novels is not an abstract concept in itself. It is reflected by drawing and drawing, and the essence of the relationship lies behind it, which is the "external appearance" and "internal mechanism" of the picture-text relationship. However, this is also ignored. In view of this, this paper not only makes clear how to study the graphic and textual relationship of illustrations in Nanjing popular novels, but also finds effective research methods, that is, the theory of intertextuality and the theory of graphology. In this paper, we analyze the relationship between graphic drawing and graphic text of illustrations in Nanjing popular novels by "external presentation", and analyze its "internal mechanism" through the theory of intertextuality and pictography.
【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.41

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