【摘要】：《趙氏孤兒》是中國古典悲劇之一,其故事最早見于司馬遷的《史記·趙世家》。劉向的《新序》和《說苑》則有較為詳細的記載。隨后有元代紀君祥的雜劇《趙氏孤兒大報仇》。該故事流傳甚為廣泛,由此也產(chǎn)生了相應的繪畫圖像作品,包括插圖、繡像、連環(huán)畫等。明代《趙氏孤兒》相關圖像主要以版刻插圖的形式被分別置于戲曲故事類書籍的不同出目當中。圖像主要是文本內容的注解,是文本之附屬。此時的圖像與文本關系可謂是“圖文并立,以文為主”。清代《趙氏孤兒》的圖像與文本呈現(xiàn)出“圖文分立、以圖為主”的關系,即以圖為主之插圖本使該時期的《趙氏孤兒》圖像具有了較為獨立的存在形式,并逐漸成為能夠以圖言說的圖像式“語言”。《趙氏孤兒》的現(xiàn)代圖像則主要以連環(huán)畫最受青睞,而連環(huán)畫的圖像與文本關系則表現(xiàn)為“圖文并立、以圖為主”。圖像成為了圖文之主導,文字卻成為了圖像之注解,連環(huán)畫將圖像敘事功能作了進一步的強化。明代以來《趙氏孤兒》圖像和文本關系由“文本主導”向“圖像主導”之轉變,體現(xiàn)出造型藝術與語言藝術之間的交流與互動,也映射出美術造型的變化與不同時代的人們對于《趙氏孤兒》故事接受與理解之內在關聯(lián)。明代以來《趙氏孤兒》圖像雖然源自同一故事原型,但在各個歷史時期,圖像造型和場景卻表現(xiàn)出不同的特征。明刊《趙氏孤兒》插圖本的圖像作者往往選擇文本故事中,起承轉合處的關鍵情節(jié)加以圖像再現(xiàn)。清代《趙氏孤兒》圖像在明代的基礎上呈現(xiàn)出“符號化”傾向,即以部分關鍵情節(jié)的插圖人物和場景,指代《趙氏孤兒》故事�，F(xiàn)代連環(huán)畫藝術家常用更多數(shù)量的圖像去再現(xiàn)故事中的高潮部分情節(jié),也就是有意將關鍵情節(jié)進行視覺描繪的放大,以圖像造型拉伸文本的敘述時空。本文以美術學科為本位,將《趙氏孤兒》相關插圖、連環(huán)畫等置于圖像敘事的視域中,對明代以來以《趙氏孤兒》為主題的圖像進行研究,以期揭示出文本敘事對于繪畫造型的影響。
[Abstract]:Zhao's Orphan is one of the classical tragedies in China. Liu Xiang's "New order" and "Shuiyuan" have more detailed records. Then there was the Yuan Dynasty Ji Junxiang's zaju < Zhao's Orphan Great revenge >. The story is widely spread, resulting in the corresponding paintings, including illustrations, embroidered images, comic books and so on. The related images of Zhao's Orphan in Ming Dynasty are mainly in the form of engraved illustrations in different subjects of drama and story books. The image is the annotation of the text content, which is attached to the text. At this time, the relationship between image and text can be described as "picture-text parallel, mainly text." The image of Zhao's Orphan in Qing Dynasty shows the relationship between the text and the text, that is, the illustrations based on the graph have made the picture of "Zhao's Orphan" in this period have a relatively independent form of existence. The modern images of "Zhao's Orphan" are mainly favored by comic books, while the relationship between images and texts of comic books is characterized by "picture and text standing side by side, drawing is the main thing". The image becomes the dominant picture and the text becomes the annotation of the image, and the comic strip further strengthens the narrative function of the image. Since the Ming Dynasty, the relationship between the image and the text has changed from "text leading" to "image leading", which reflects the communication and interaction between plastic arts and language art. It also reflects that the changes of art modeling are related to the acceptance and understanding of the story of Zhao's Orphan in different times. Although the images of "Zhao's Orphan" since the Ming Dynasty originated from the same story prototype, in each historical period, the image modeling and scene showed different characteristics. The graphic authors of the illustrated edition of Ming Dynasty, Zhao's Orphan, often choose the key plot in the text story to reproduce the image. On the basis of the Ming Dynasty, the images of Zhao's Orphan in Qing Dynasty showed a tendency of "symbolization", that is, with illustrations and scenes of some key plots, the story of "Zhao's Orphan" was referred to as "Zhao's Orphan". Modern comic strip artists often use more images to reproduce the climax part of the story, that is, intentionally amplify the key plot visually, and stretch the narrative time and space of the text with image modeling. Based on the subject of fine arts, this paper puts the relevant illustrations and comic books of "Zhao's Orphan" in the perspective of image narration, and studies the images with the theme of "Zhao's Orphan" since the Ming Dynasty. In order to reveal the text narrative on the impact of painting modeling.
【學位授予單位】：西南大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J205

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本文編號：2276893