古代小说戏曲插图同框手法的运用

发布时间：2018-06-10 11:36

  本文选题：同框 + 小说　； 参考：《南通大学学报(社会科学版)》2017年04期

【摘要】：通常我们把本不在同一时空、本不属于一类、本无关联的事物人为地糅合在同一时空的画面中而产生某种艺术效果的手法叫做"同框"。同框一般有对比衬托的效果。中国古代小说戏曲插图早已采用了同框手法。在清代《增图像足本金瓶梅》张竹坡评点一百回本中,绣像图中两两成对人物的同框编排除了揭示人物之间的某种联系的作用之外,还与绘刻者对文本、对人物的理解和认知喜好也有着密切的关联,隐含着绘图者通过同框插图对文本作品的阐释和解读。明代刘龙田刊本《西厢记》插图绘者也采用了独特的虚实同框、明暗同框及同框分隔手法,充分关注戏曲表演的视觉性、听觉性及角色特点,满足了观众心理需求。同框插图与舞台表演关系密切,很可能是对舞台表演的直接描摹。
[Abstract]:Usually, we call it "the same frame" by which we do not belong to the same time and space, but do not belong to the same kind of things, which are artificially mixed in the picture of the same time and space to produce some kind of artistic effect. The same frame generally has the effect of contrasting. The illustrations of Chinese ancient novels and operas have already adopted the same frame technique. In the 100 copies of Zhang Zhupo's comments on "Jin Ping Mei," in the Qing Dynasty, two or two pairs of characters in the embroidered figure were arranged in the same frame, in addition to revealing the role of some kind of connection between the characters, they also compared the text with the engraver. There is also a close relationship between the understanding and cognitive preference of the characters, implying that the drafters interpret and interpret the text through the same frame illustrations. The illustrators of Liu Longtian's edition of "the West Chamber" in Ming Dynasty also adopted the unique techniques of the same frame, the same frame and the same frame of light and shade, paying full attention to the visual, auditory and role characteristics of the opera performance, which satisfied the psychological needs of the audience. The frame illustration is closely related to the stage performance and is probably a direct portrayal of the stage performance.
【作者单位】： 南通大学文学院;
【分类号】：I207.41
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本文编号：2003080