摘要
明代小说戏曲插图有着特定的文本语境和历史语境。文本语境是指插图是否依据正文绘稿,历史语境是指插图赖以维系的社会人文环境。本文即立足于历史语境,以《蓝桥玉杵记》等小说戏曲插图为立足点,结合仇英题款《清明上河图》《南都繁会图》、赵孟頫《调良图》等绘画进行具体分析,从而论证明代小说戏曲插图和舞台性的关系并不大,并不具备'舞台性'特征。
Opera illustrations in the novels of Ming dynasty have specific text context and historical context:text context refers to whether illustrations are based onpainted artworks or not,and historical context refers to the social and cultural environment on which illustrations are sustained.This paper is based on the historical context,such as the illustrations in Lan Qiao Yu Chu Ji,and so on,combining with specific analysis in Qing Ming Shang He Tu,Nan Du Fan Hui Tu,with Qiu Ying’s inscriptions,Zhao Mengfu’Tiao Liang Tu,and so forth,to demonstrate that opera illustrations in the novels of Ming dynasty have little to do with the stage nature.
出处
《中国美学研究》
2019年第1期128-141,303-304,共15页
