明代双曲文本插图的视觉形态与风格演变

发布时间：2018-10-17 21:20

【摘要】：明代是中国版画史上的巅峰时期,在明代所有插图的类别中,戏曲文本插图(以下简称戏曲插图)是最具有装饰性和艺术性的。目前学术界关于明代戏曲插图的研究多偏向于插图史研究、个案研究、图像叙事研究等,对于戏曲插图整体演变脉络的研究不够深入。本文将从视觉形态与风格这两个视角上来对明代戏曲插图演变脉络进行系统的总结、梳理,并将其演变的过程分为三个时期:前期(明初时期—万历中期),中期(万历中期—万历后期),后期(万历后期—崇祯时期)。视觉形态演变具体表现为:前期是以人为主、以景为辅的“背景”形态,具有舞台空间的特征;中期是人景合度的“场景”形态,体现出了立体空间的特征;后期是以景为主、以人为辅的“情景”形态,体现出了抒情空间的特征。风格演变具体表现为:前期以金陵流派为主,具有浓厚的底层大众气息,其代表风格为“朴拙”;中期以徽派为主,体现出了匠人气息,代表风格为“精细”。到了后期杭州、苏州、吴兴等地插图开始兴盛,其画面充满诗情画意,富有文人气息,是为“雅致”风格。推动明代戏曲插图的视觉形态与风格演变的力量,主要是来自于匠人自身的提高、文人的介入影响以及出版业的商品化。
[Abstract]:The Ming Dynasty was the peak period in the history of Chinese printmaking. Among all the illustrations in the Ming Dynasty, the opera text illustrations (hereinafter referred to as the opera illustrations) were the most decorative and artistic. At present, the academic research on the Ming Dynasty drama illustrations tends to study the history of illustrations, case studies, image narration, and so on, but the research on the overall evolution of drama illustrations is not deep enough. This paper will systematically summarize the evolution of the Ming Dynasty drama illustrations from the two perspectives of visual form and style. The process of its evolution is divided into three periods: early period (early Ming period-middle period of Wanli), middle period (middle period of Wanli-late period of Wanli), late period (late period of Wanli-Chongzhen period). The evolvement of visual form is manifested as follows: in the early stage, the "background" form, which is based on people and supplemented by scenery, has the characteristics of stage space; in the middle period, it is the "scene" form of the degree of human scenery, which embodies the characteristics of three-dimensional space; in the later period, it is mainly "scene", and in the later period, it is mainly "scene". The form of "scene", supplemented by man, embodies the characteristics of lyrical space. The style evolves concretely as follows: in the early stage, Jinling school is the main school, with a strong underclass atmosphere, and its representative style is "sincere"; in the middle period, Huizhou school is the main body, which embodies the craftsman's breath and the representative style is "fine". In the later period, the illustrations of Hangzhou, Suzhou and Wuxing began to flourish. The power to promote the evolution of visual form and style of the Ming Dynasty opera illustration mainly comes from the improvement of the craftsmen themselves, the influence of the literati and the commercialization of the publishing industry.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J218.5

【相似文献】