首页|陆燕生《故事新编》插画的发展历程与美学演进——以《奔月》插画为中心的考察

陆燕生《故事新编》插画的发展历程与美学演进——以《奔月》插画为中心的考察

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作为鲁迅博物馆工作人员的陆燕生,将他对鲁迅作品的感受和理解融入了跨越 26 年的心血之作——《故事新编》插画中.其《故事新编》插画的创作可分为三个阶段:一是 1970 年代末至 1980年代初的单幅插画阶段,通过内容并置和形式匹配的方式,创造性地完成了《奔月》的图像转译;二是1980 年代中后期的连续插画阶段,通过单一性构图方式对《起死》《出关》《奔月》等文章进行场景分解,为下一阶段插画创作作了图式准备;三是 21 世纪初的整体插画阶段,采取"一节一图"策略和情节堆叠方式,将鲁迅作品插画创作推向新高度.从陆燕生三个阶段插画创作可以看出美术家主体的发展衍化,包括自我延续、自我修正、自我调整和自我回归.
The Development Process and Aesthetic Evolution of Lu Yansheng's Illustrations in Old Tales Retold:An Investigation Centered on the Illustration of"The Flight to the Moon"
Lu Yansheng,a long-time staff member of the Lu Xun Museum,incorporated his feelings and understanding of Lu Xun's works into his 26-year-long illustration in Old Tales Retold.The creation of his illustrations for Old Tales Retold can be divided into three stages:one is the stage of single illustration,from the end of the 1970s to the beginning of the 1980s.Through content juxtaposition and form matching,he creatively completed the image translation of The Flight to the Moon.The second is the continuous illus-tration stage,which is in the middle and late stages of the 1980s.He decomposed the scenes of Resurrec-ting the Dead,Leaving the Pass and The Flight to the Moon by means of single composition,and made schematic preparation for the next stage of illustration creation.The third is the overall illustration stage at the beginning of the 21st century.He adopted the"one illustration per section"strategy and plot stacking approach,which pushed the illustration of Lu Xun's works to a new dimension.Through the three-stage il-lustrations,we can see the development of the artist's subject,including self-continuation,self-correction,self-adjustment and self-return.Lu Yansheng's illustrations deserve more attention and re-search.

Lu Xunillustrations in Old Tales RetoldLu Yanshengaesthetic evolution

刘德胜

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长沙学院 影视艺术与文化传播学院,湖南 长沙 410022

鲁迅 《故事新编》 陆燕生 插画

湖南省哲学社会科学基金一般项目

22YBA244

2024

绍兴文理学院学报
绍兴文理学院

绍兴文理学院学报

CHSSCD
影响因子:0.267
ISSN:1008-293X
年,卷(期):2024.44(7)
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