本文選題：同框 + 小說　； 參考：《南通大學(xué)學(xué)報(社會科學(xué)版)》2017年04期

【摘要】：通常我們把本不在同一時空、本不屬于一類、本無關(guān)聯(lián)的事物人為地糅合在同一時空的畫面中而產(chǎn)生某種藝術(shù)效果的手法叫做"同框"。同框一般有對比襯托的效果。中國古代小說戲曲插圖早已采用了同框手法。在清代《增圖像足本金瓶梅》張竹坡評點一百回本中,繡像圖中兩兩成對人物的同框編排除了揭示人物之間的某種聯(lián)系的作用之外,還與繪刻者對文本、對人物的理解和認知喜好也有著密切的關(guān)聯(lián),隱含著繪圖者通過同框插圖對文本作品的闡釋和解讀。明代劉龍?zhí)锟尽段鲙洝凡鍒D繪者也采用了獨特的虛實同框、明暗同框及同框分隔手法,充分關(guān)注戲曲表演的視覺性、聽覺性及角色特點,滿足了觀眾心理需求。同框插圖與舞臺表演關(guān)系密切,很可能是對舞臺表演的直接描摹。
[Abstract]:Usually, we call it "the same frame" by which we do not belong to the same time and space, but do not belong to the same kind of things, which are artificially mixed in the picture of the same time and space to produce some kind of artistic effect. The same frame generally has the effect of contrasting. The illustrations of Chinese ancient novels and operas have already adopted the same frame technique. In the 100 copies of Zhang Zhupo's comments on "Jin Ping Mei," in the Qing Dynasty, two or two pairs of characters in the embroidered figure were arranged in the same frame, in addition to revealing the role of some kind of connection between the characters, they also compared the text with the engraver. There is also a close relationship between the understanding and cognitive preference of the characters, implying that the drafters interpret and interpret the text through the same frame illustrations. The illustrators of Liu Longtian's edition of "the West Chamber" in Ming Dynasty also adopted the unique techniques of the same frame, the same frame and the same frame of light and shade, paying full attention to the visual, auditory and role characteristics of the opera performance, which satisfied the psychological needs of the audience. The frame illustration is closely related to the stage performance and is probably a direct portrayal of the stage performance.
【作者單位】： 南通大學(xué)文學(xué)院;
【分類號】：I207.41
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本文編號：2003080