明代南京刊刻通俗小说插图研究

发布时间：2018-05-21 01:43

本文选题：南京 + 通俗小说插图　；参考：《四川师范大学》2017年硕士论文

【摘要】：南京是明代的一大刊刻中心,这里所刊刻的通俗小说插图具有重要的研究价值:一个是插图风格的演变,还有一个是图文关系,这反映了有明一代版画插图的面貌及其演变规律。本文研究即如下展开:第一章“明代南京通俗小说插图的刊刻”。南京坊刻业之所以如此繁荣,原因既在于南京是明王朝的经济和文化中心,也在于明政府宽松的文化政策、南京地区便利的交通和人才在当地的聚集。据笔者统计,明代南京25家书坊共刊刻了45种通俗小说。第二章“明代南京通俗小说插图风格及演变”,这是本文重点。自郑振铎以来的学者都认为,插图风格具有地域性特点,比如“建安风格”、“金陵风格”、“徽派风格”等等,并且插图的风格由刻工决定。然而,南京插图的风格并非南京一地所独有,插图风格的形成也并非刻工所决定。这就意味着,我们要抛弃固有的结论,重新认识插图风格。本文不仅辨析了郑振铎的有关插图风格的说法,也就是“刻工论”与“区域论”,还通过对比当时其他地区的通俗小说插图、戏曲版画以及民间年画作品、诗词集插图,追本溯源,最终明确了南京通俗小说插图的真正风格,是为民间美术风格与画家风格。而南京通俗小说插图之所以会从民间美术风格向画家风格演变,其原因既有书坊主的作用也有社会经济人文因素的推动。第三章“南京通俗小说插图图文关系”,同样是本文重点。由于南京通俗小说插图由图绘和图题两部分构成,所以它的图文关系包括了图绘图文关系和图题图文关系。目前学术界基本上是在研究图绘与是否正文相符、图绘如何与正文相符,而这些都是图绘图文关系的研究内容。至于南京通俗小说插图的另一构成部分,图题,则鲜有人问津,相应的图题图文关系也被人忽略。而且,南京通俗小说插图图文关系本身并不是一个抽象概念,它通过图绘和图题来反映,而这层关系的背后又蕴含着实质,这就是图文关系的“外在呈现”与“内在机理”。然而,这同样被人忽视。有鉴于此,本文不仅明确了如何研究南京通俗小说插图图文关系,还找到了行之有效的研究方法,即“语-图”互文理论和图像学理论。本文通过“外在呈现”分析南京通俗小说插图的图绘图文关系和图题图文关系,又通过“语-图”互文理论和图像学理论分析其“内在机理”。
[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.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.41

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