闵氏《西厢记》插图研究

发布时间：2018-03-13 17:01

本文选题：闵氏插图本《西厢记》　切入点：图像创意　出处：《南京艺术学院》2014年硕士论文　论文类型：学位论文

【摘要】：插图，，又称为插画，指附在书刊中的图画。我国明代是图书出版的繁荣时期，有经史书籍、工具书籍以及通俗文学书籍等门类，其中尤其以戏曲、小说为主的通俗文学在晚明时期非常流行。通俗文学的流行与当时文人的社会心态密切相关，而戏曲、小说插图本则是一扇窗户，展现了晚明人生活中的艺术思想，是他们对日常生活需求的理解和体现。本文的研究对象是明代崇祯年间浙江吴兴闵齐O主持刻印的《西厢记》插图本，此本以“幻”为主旨，用绝妙的视觉语言、饶富创意的构图手法将《西厢记》故事完美呈现。《西厢记》在明代刻本之多不胜枚举，且大都附有插图，但彩色插图较少见。而闵齐O采用檦版绘刻西厢更是精妙绝伦，同时其画面的图像创意也堪称经典。为了将闵氏插图本《西厢记》进行抽丝剥茧的分析，本论文将例举同时代的插图本以对插图中的布局和特点发展进行了解，采用文献研究和图像学相结合的方法说明插图创意的方式由“图文并茂”向完全的“装饰性”转变。并结合晚明文人的生活情趣，将闵齐O刻《西厢记》彩图20幅通过其不同的构图方式和意匠表现分别归类为五个部分，即闲情逸致之“玩”、诗文暗喻之“情”、时空相叠之“器”、身临其境之“景”、奇思妙想之“雅”等进行阐述。同时结合王实甫《西厢记》曲词详解其创作意匠。闵氏插图本《西厢记》版画在彩色套印方面的实践，不仅填补了古典文学版画没有彩色套印本的空白，而且将檦版这一先进的版刻技术由画谱、笺谱带入更大的创作空间，其大胆探索和取得的成功，对后世的插图与版画创作有着重要的影响。
[Abstract]:Illustrations, also known as illustrations, refer to pictures attached to books and periodicals. The Ming Dynasty was a prosperous period for the publication of books, including classics and history books, tool books, and popular literature books, especially in the form of traditional Chinese opera. Popular literature, mainly fiction, was very popular in the late Ming Dynasty. The popularity of popular literature was closely related to the social mentality of the literati at that time, while drama and novel illustrations were a window to show the artistic thoughts in the life of the late Ming Dynasty. The research object of this paper is the illustrations of "the West Chamber", which was printed by Wu Xingmin Qi O of Zhejiang Province during the period of Chongzhen in Ming Dynasty. It is based on the theme of "fantasy" and uses excellent visual language. Creative composition of the story of the "West Chamber" perfect presentation. In the Ming Dynasty, there were numerous inscriptions, and most of them had illustrations, but color illustrations were rare. In order to analyze the drawing cocoon of Mins Illustrated Book, this paper will give examples of contemporary illustrations in order to understand the layout and characteristics of the illustrations. Using the method of combining literature research and graphology to explain the transformation of illustrations' creative way from "picture and text" to "decoration", and combining with the life interest of the literati in the late Ming Dynasty, This paper classifies 20 color drawings of Minqi O engraving "West Chamber" into five parts through their different composition methods and the performance of artisans. That is to say, "play" in idle mood, "emotion" in the metaphor of poetry and prose, "apparatus" in overlapping time and space, "scene" in reality, "elegance" in wonder, and so on. At the same time, it is explained in detail with Wang Shifu's "Western Chamber" lyrics. The practice of print in Color overprint, It not only fills the blank of no color overprint in classical print, but also brings the advanced lithography technology from the painting to a greater space for creation, and its bold exploration and success. It has an important influence on the illustrations and printmaking of later generations.
【学位授予单位】：南京艺术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J218.5

【相似文献】