明代以降《赵氏孤儿》图像叙事研究
发布时间：2018-10-17 14:01
【摘要】：《赵氏孤儿》是中国古典悲剧之一,其故事最早见于司马迁的《史记·赵世家》。刘向的《新序》和《说苑》则有较为详细的记载。随后有元代纪君祥的杂剧《赵氏孤儿大报仇》。该故事流传甚为广泛,由此也产生了相应的绘画图像作品,包括插图、绣像、连环画等。明代《赵氏孤儿》相关图像主要以版刻插图的形式被分别置于戏曲故事类书籍的不同出目当中。图像主要是文本内容的注解,是文本之附属。此时的图像与文本关系可谓是“图文并立,以文为主”。清代《赵氏孤儿》的图像与文本呈现出“图文分立、以图为主”的关系,即以图为主之插图本使该时期的《赵氏孤儿》图像具有了较为独立的存在形式,并逐渐成为能够以图言说的图像式“语言”。《赵氏孤儿》的现代图像则主要以连环画最受青睐,而连环画的图像与文本关系则表现为“图文并立、以图为主”。图像成为了图文之主导,文字却成为了图像之注解,连环画将图像叙事功能作了进一步的强化。明代以来《赵氏孤儿》图像和文本关系由“文本主导”向“图像主导”之转变,体现出造型艺术与语言艺术之间的交流与互动,也映射出美术造型的变化与不同时代的人们对于《赵氏孤儿》故事接受与理解之内在关联。明代以来《赵氏孤儿》图像虽然源自同一故事原型,但在各个历史时期,图像造型和场景却表现出不同的特征。明刊《赵氏孤儿》插图本的图像作者往往选择文本故事中,起承转合处的关键情节加以图像再现。清代《赵氏孤儿》图像在明代的基础上呈现出“符号化”倾向,即以部分关键情节的插图人物和场景,指代《赵氏孤儿》故事。现代连环画艺术家常用更多数量的图像去再现故事中的高潮部分情节,也就是有意将关键情节进行视觉描绘的放大,以图像造型拉伸文本的叙述时空。本文以美术学科为本位,将《赵氏孤儿》相关插图、连环画等置于图像叙事的视域中,对明代以来以《赵氏孤儿》为主题的图像进行研究,以期揭示出文本叙事对于绘画造型的影响。
[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.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J205
本文编号：2276893
[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.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J205
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