从“耳目之玩”到“读图时代”—德藏闵氏《西厢记》刻本的启示

发布时间：2018-04-21 03:31

本文选题：耳目之玩 + 西厢记　；参考：《中国艺术研究院》2013年硕士论文

【摘要】：随着明代商业的发展,市民社会的兴起,戏曲刊本日盛,尤以《西厢记》的刊本为最盛,并且其插图与晚明文人“耳目之玩”的风气有着密切的关系,因为明末宦官专政,文人失去政治话语权,他们将更多的精力投入到戏曲及其刊本插图的创作中；加之明末刻书业的大繁荣,这一时期出现了许多画工精良,质量上乘,立意巧妙的精品之作。而通过本文的分析,也可以看出这些刊本造价不菲,印量极少,绝非广泛流传的民间读物,而是有一定经济社会地位的文人士大夫的把玩之物。到明代末期,这些刊本愈加呈现出对视觉表现的关注,从一开始戏曲粉本式的图像向具有独立审美意趣的图像转变；绘刻题材和情致也越来越向文人画所青睐的方式靠近；并且画面刻意营造出一种与观者“间离”的效果,让观者非常明确地感受到所面对的正是把玩之物；在画面的构造上,创作者运用了充满象征、隐喻和机巧的方式使得图像表现部分颇有可玩味之处,这些无不体现了晚明文人的闲适意趣。以上所有归纳的这些特点都非常集中地在德藏闵氏《西厢记》刻本中呈现出来,因而本文就以此刻本为例,分析明末戏曲刊本的这种转变,及其背后所隐藏的社会和文化的因素。今天,我们已经进入了“读图时代”,当年的“耳目之玩”现象已然从传统的出版业扩散到日常生活中的每个角落。图像在我们的生活中扮演着“组织者”和“统率者”的角色,它在当代语境中的价值与意义不断地凸显出来。首先,当代视觉文化与大众文化和消费文化结盟,瓦解了传统审美方式的种种局限,满足了大众的视觉需求和欲望,使大众随时随地感受着“震惊”般的视觉体验；其次,它还在现代高科技的帮助下为我们的生活和工作带来种种便利；最后,当代视觉文化充分地发挥了图像叙事的优势,凭借强烈且连续的视觉冲击力体现了其作为“展示”的核心价值。作为现代社会民主化程度和文化权利共享程度的一种客观反映,视觉文化在人类社会的发展过程中起着越来越重要的作用。当然,现代视觉文化发展也有其消极的一面。首先,由于当代视觉文化在消费文化和大众文化的作用下过度开发,使得如闵氏刻本那种精致的、高雅的、静观式的传统审美逐渐消失,而流于一种粗陋的、低俗的、肤浅的审美倾向；再者,电子技术的盲目滥用使得当代视觉文化在丰富多彩、精致绝伦的外表下,显现出了其形式的单调与同一性；更重要的是,人们长期浸淫在这样的审美氛围中,必然会产生对视觉欲望的无度追求,最终导致视觉修养和审美思考能力的全面退化。这些问题应当引起视觉文化研究者,甚至社会中的每一个人的深刻反思,只有回望历史,我们才能立足于当下,面对纷繁复杂的视听景象清晰地辨识当前的位置。探索当代中国视觉艺术与设计的发展方向,发挥视觉文化在当今社会的真正价值。
[Abstract]:With the development of Commerce in the Ming Dynasty and the rise of civil society, the publication of opera was flourishing, especially in the Journal of the Western chamber, and its illustrations were closely related to the style of "playing with the ears and eyes" of the late Ming scholars. Because of the dictatorship of the eunuchs in the late Ming Dynasty, the literati lost the political discourse power, and they put more energy into the opera and its publication illustrations. In the process of creation, in addition to the great prosperity of the book industry in the late Ming and the late Ming Dynasty, many excellent works of painting workers, high quality and skillful works appeared in this period. And through the analysis of this article, we can also see that these publications are expensive and very small, are not widely spread of folk books, but the play of the literati and officials of a certain economic and social status. Things.
At the end of the Ming Dynasty, these journals became more and more concerned about visual performance. From the beginning of the opera, the images of the Chinese opera turned to the images of independent aesthetic interest. It is often clearly felt that what is facing is a playful thing; in the structure of the picture, the creator uses the means full of symbolism, metaphor and dexterity to make the image parts quite playable, which embodies the leisure interest of the late Ming scholars. All these characteristics are very concentrated in the West Chamber of de Zunmin's < west chamber. In the block printed edition, this article takes this block printed edition as an example to analyze the transformation of the opera publication in the late Ming Dynasty and the social and cultural factors behind it.
Today, we have entered the era of "reading drawing". The phenomenon of "playing with ears and eyes" has spread from the traditional publishing industry to every corner of everyday life. The image plays the role of "organizer" and "master" in our life. Its value and significance in the contemporary context is constantly highlighted.
First, the alliance of contemporary visual culture and mass culture and consumer culture disintegrates the limitations of the traditional aesthetic methods, meets the visual needs and desires of the public, and makes the masses feel the "shocking" visual experience anytime and anywhere; secondly, it brings all sorts of conveniences to our life and work under the help of modern high-tech. Finally, the contemporary visual culture fully exerts the advantage of the image narrative, and embodies its core value as a "display" by strong and continuous visual impact. As an objective reflection of the degree of democratization and the degree of sharing of cultural rights in modern society, visual culture is becoming more and more important in the development of human society. The role.
Of course, the development of modern visual culture also has its negative side. First, due to the overexploitation of contemporary visual culture under the role of consumer culture and mass culture, the exquisite, elegant and quiet traditional aesthetics, such as min's carved book, gradually disappear, and it flows into a crude, vulgar, superficial aesthetic tendency; furthermore, electronic The blind abuse of technology makes the contemporary visual culture in a colorful and delicate appearance, showing the monotonous and identical form of its form, and more importantly, the people's long-term immersion in such an aesthetic atmosphere will inevitably lead to the endless pursuit of visual desire, and eventually lead to the overall degradation of visual cultivation and the ability of aesthetic thinking. These problems should arouse the profound reflection of the visual culture researchers and even the people in the society. Only by looking back at the history, can we be based on the present and clearly identify the current position in the face of numerous and complicated visual and audio-visual scenes, explore the development direction of contemporary Chinese visual art and design, and give full play to the true sense of visual culture in today's society. Positive value.

【学位授予单位】：中国艺术研究院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J217;I207.37

【参考文献】