本文選題：南京 + 通俗小說插圖　； 參考：《四川師范大學》2017年碩士論文

【摘要】：南京是明代的一大刊刻中心,這里所刊刻的通俗小說插圖具有重要的研究價值:一個是插圖風格的演變,還有一個是圖文關系,這反映了有明一代版畫插圖的面貌及其演變規(guī)律。本文研究即如下展開:第一章“明代南京通俗小說插圖的刊刻”。南京坊刻業(yè)之所以如此繁榮,原因既在于南京是明王朝的經(jīng)濟和文化中心,也在于明政府寬松的文化政策、南京地區(qū)便利的交通和人才在當?shù)氐木奂�。�?jù)筆者統(tǒng)計,明代南京25家書坊共刊刻了45種通俗小說。第二章“明代南京通俗小說插圖風格及演變”,這是本文重點。自鄭振鐸以來的學者都認為,插圖風格具有地域性特點,比如“建安風格”、“金陵風格”、“徽派風格”等等,并且插圖的風格由刻工決定。然而,南京插圖的風格并非南京一地所獨有,插圖風格的形成也并非刻工所決定。這就意味著,我們要拋棄固有的結論,重新認識插圖風格。本文不僅辨析了鄭振鐸的有關插圖風格的說法,也就是“刻工論”與“區(qū)域論”,還通過對比當時其他地區(qū)的通俗小說插圖、戲曲版畫以及民間年畫作品、詩詞集插圖,追本溯源,最終明確了南京通俗小說插圖的真正風格,是為民間美術風格與畫家風格。而南京通俗小說插圖之所以會從民間美術風格向畫家風格演變,其原因既有書坊主的作用也有社會經(jīng)濟人文因素的推動。第三章“南京通俗小說插圖圖文關系”,同樣是本文重點。由于南京通俗小說插圖由圖繪和圖題兩部分構成,所以它的圖文關系包括了圖繪圖文關系和圖題圖文關系。目前學術界基本上是在研究圖繪與是否正文相符、圖繪如何與正文相符,而這些都是圖繪圖文關系的研究內(nèi)容。至于南京通俗小說插圖的另一構成部分,圖題,則鮮有人問津,相應的圖題圖文關系也被人忽略。而且,南京通俗小說插圖圖文關系本身并不是一個抽象概念,它通過圖繪和圖題來反映,而這層關系的背后又蘊含著實質(zhì),這就是圖文關系的“外在呈現(xiàn)”與“內(nèi)在機理”。然而,這同樣被人忽視。有鑒于此,本文不僅明確了如何研究南京通俗小說插圖圖文關系,還找到了行之有效的研究方法,即“語-圖”互文理論和圖像學理論。本文通過“外在呈現(xiàn)”分析南京通俗小說插圖的圖繪圖文關系和圖題圖文關系,又通過“語-圖”互文理論和圖像學理論分析其“內(nèi)在機理”。
[Abstract]:Nanjing is a major publishing and engraving center in Ming Dynasty. The illustrations of popular novels published here have important research value: one is the evolution of illustration style, and the other is the relationship between illustration and text. This reflects the Ming Dynasty printmaking illustrations of the face and the evolution of the law. The research of this paper is as follows: the first chapter is the publication of illustrations of popular novels in Nanjing in Ming Dynasty. The reason for the prosperity of Nanjing is not only because Nanjing is the economic and cultural center of the Ming Dynasty, but also because of the loose cultural policy of the Ming government, the convenient transportation and the gathering of talents in Nanjing. According to the author statistics, the Ming Dynasty Nanjing 25 calligraphy workshops published a total of 45 popular novels. The second chapter, illustrative style and evolution of Nanjing popular novels in Ming Dynasty, is the focus of this paper. Since Zheng Zhenduo, scholars believe that illustrations have regional characteristics, such as "Jian'an style", "Jin Ling style", "Hui style" and so on, and the illustration style is determined by the engraver. However, the style of illustrations in Nanjing is not unique to Nanjing, and the formation of illustrations is not decided by engraving workers. This means that we have to abandon the inherent conclusions and re-understand the illustration style. This paper not only distinguishes and analyzes Zheng Zhenduo's theory of illustration style, that is, "engraving theory" and "region theory", but also compares the illustrations of popular novels, opera prints, folk New year paintings and poetry collections in other regions at that time. Tracing back to the source, the true style of illustrations in Nanjing popular novels is for folk art style and painter style. The reason why the illustrations of popular novels in Nanjing evolved from folk art style to painter style is because of the role of book owners and the promotion of social and economic factors. The third chapter, the relationship between illustrations in Nanjing popular novels, is also the focus of this paper. Because the illustrations of popular novels in Nanjing are composed of two parts: drawing and drawing, its graphic and text relations include the relation between drawing and the relation between picture and text. At present, the academic circles are basically studying whether the drawing is consistent with the text, and how the drawing is consistent with the text, and these are all the contents of the research on the relationship between the drawing and the text. As for the other part of the illustrations of popular novels in Nanjing, few people ask questions, and the relationship between pictures and texts is neglected. Moreover, the graphic relation of illustrations in Nanjing popular novels is not an abstract concept in itself. It is reflected by drawing and drawing, and the essence of the relationship lies behind it, which is the "external appearance" and "internal mechanism" of the picture-text relationship. However, this is also ignored. In view of this, this paper not only makes clear how to study the graphic and textual relationship of illustrations in Nanjing popular novels, but also finds effective research methods, that is, the theory of intertextuality and the theory of graphology. In this paper, we analyze the relationship between graphic drawing and graphic text of illustrations in Nanjing popular novels by "external presentation", and analyze its "internal mechanism" through the theory of intertextuality and pictography.
【學位授予單位】：四川師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I207.41

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本文編號：1917209