晚明文本插图研究

发布时间：2018-04-11 10:36

  本文选题：插图 + 图像　； 参考：《华中师范大学》2014年博士论文

【摘要】：本文以晚明文本插图为中心,对晚明社会进行一种新的探索和考察。通过研究晚明大的历史背景,以及国家政策、社会变化与文本插图的印制、书籍的出版之间的互动关系,进一步阐明和丰富晚明社会知识下移的内涵,揭示晚明大量文本插图的生产和复制与晚明社会中所存在的"奢靡之风的复制"、"市民文学对于现实生活的复制"以及"绘画中存在的复制现象"等,各种"复制状态"之间的关联性,描述从复制文本插图到各种"复制状态"出现的一个知识下移的晚明社会。文中首先以晚明大的时代背景入手,考察晚明的整体时代特性,以及这一时期群体的变化,随着新群体、新情趣、新口味的出现,由此展现出一个知识不断下移的晚明社会。知识的下移促使文本插图走到晚明社会的前台,同时文本插图所带来的图像化倾向进一步丰富了晚明知识下移的途径。其二,通过对晚明插图的学理分析与检讨,希望找到晚明文本插图的美化、装饰功能之外的社会意义。从早期具有教化意义的神、佛、圣的插图到晚明小说、戏曲,科技农桑、画谱、类书等更为世俗、实用、消遣的插图,显然插图的美化、装饰功能的背后,更有着一份社会的关切与责任。其三,在一些不断被名人重新批评、评点后,大量重复刊刻的戏曲、小说的文本与插图中,观察到晚明成熟而发达的商业出版,更感受到批评者、编辑者对于社会话语权的渴望与期盼,由此揭示出晚明社会中逐步出现了人的自觉与自醒。最后,本文希望从文本插图的"复制"视角,去观察存在于晚明社会之中的奢靡之风的"复制",小说戏曲故事对于现实生活的"复制",以及晚明绘画中画家对于相同题材的不断重复以及"粉稿"的运用,甚至在戏曲舞台上的演绎似乎都留下了"复制"的影子。"复制"成为了晚明社会的一种基本状态。这一延伸视角的观察所提供的视点,不仅丰富了认知晚明社会的途径,对于描述较为真切的晚明社会具有一定的现实意义。插图作为传统的美术学研究对象,通常的研究方法是着眼于插图本身的图像审美意义的阐述,而传统的史学研究鲜有从这一角度去观察晚明社会。本文试图在历史文化的研究中,从文本插图图像的层面着手,将晚明所呈现出的各类插图图像作为重要的实证材料,结合大量的文史材料同时对照插图图像所提供的信息,作较为深入的历史学、文化学、社会学、美术学以及图像学的探讨,希望能较为全面的阐释历史现象,还原晚明社会生活的情境。
[Abstract]:In this paper, the late Ming text illustrations as the center, the late Ming society for a new exploration and investigation.Through the study of the historical background of the late Ming Dynasty, as well as the interaction between the national policy, the social changes and the printing of the illustrations of the text, and the publication of the books, the paper further clarifies and enriches the connotation of the downward shift of social knowledge in the late Ming Dynasty.It reveals the production and reproduction of a large number of illustrations in the late Ming Dynasty, the reproduction of extravagance in the late Ming society, the reproduction of the real life in the urban literature and the reproduction phenomenon in the painting, etc.The relationship between various "replicative states" describes a late Ming society in which knowledge emerges from illustrations of duplicated texts to the emergence of various "replicative states".This paper begins with the background of the late Ming Dynasty, and examines the overall characteristics of the late Ming Dynasty, as well as the changes of the groups in this period. With the emergence of new groups, new tastes and new tastes, it shows a society of late Ming Dynasty in which knowledge is constantly shifting.The downward movement of knowledge promotes the text illustration to the foreground of the late Ming society. Meanwhile, the graphic tendency brought by the text illustration further enriches the way of the late Ming Dynasty knowledge to move down.Secondly, through the theoretical analysis and review of the illustrations in the late Ming Dynasty, the author hopes to find out the social significance beyond the beautification and decoration function of the illustrations in the late Ming Dynasty.From the early illustrations of the gods, Buddhas, and saints of enlightenment to the novels, dramas, sci-tech mulberry, pictorial, and similar books of the late Ming Dynasty, which are more mundane, practical, and recreational illustrations, it is obvious that the illustrations are beautified and decorated behind them.There is also a social concern and responsibility.Third, in some of the plays, the texts and illustrations of novels that have been repeatedly criticized and re-criticized by famous people, the mature and developed commercial publications of the late Ming Dynasty have been observed, and the critics have been felt even more.The desire and expectation of editors for the right of social discourse reveal the gradual emergence of people's consciousness and self-consciousness in the late Ming Dynasty.Finally, from the perspective of "copy" of the text illustrations,To observe the extravagant "reproduction" that exists in the late Ming society, the "reproduction" of the real life of the novel and drama story, and the repeated repetition of the same subject matter and the use of the "pink manuscript" in the painting of the late Ming Dynasty.Even the performance on the stage of the opera seems to have left the shadow of reproduction. "Copying "has become a basic state of the late Ming society."The observation of this extended perspective not only enriches the way to recognize the late Ming society, but also has certain practical significance for describing the real late Ming society.Illustration as the object of traditional art studies, the usual research method is to focus on the illustration of the image aesthetic significance of the illustration itself, but the traditional historical research rarely from this point of view to observe the late Ming society.In the study of history and culture, this paper attempts to start from the level of text illustrations, taking all kinds of illustrations presented in the late Ming Dynasty as important empirical materials, combining with a large amount of literature and history materials and contrasting the information provided by illustrative images at the same time.In order to explain the historical phenomenon comprehensively and restore the situation of social life in the late Ming Dynasty, the author makes a deeper study of history, culture, sociology, fine arts and graphics.
【学位授予单位】：华中师范大学
【学位级别】：博士
【学位授予年份】：2014
【分类号】：K248.4;J218.5
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本文编号：1735639