明清插图本《牡丹亭》中的"写真"图研究——以石林居士序刻本为中心
A study of the"portrait"picture in the illustrated Peony Pavilion in the Ming and Qing dynasties:Centered on the preface engraving of Shilinjushi
李碧 1吴强1
作者信息
- 1. 浙江理工大学艺术与设计学院,杭州 310018
- 折叠
摘要
明清插图本《牡丹亭》中的图像内容、构图版式和传播路径蕴含着丰富的文化功能与意义,而学界对《牡丹亭》中特定插图的研究并不多.文章以其中的"写真"图为研究对象,分析不同版本的插图内容与其变化过程.研究发现:石林居士版的"写真"图具有经典性和独创性,既体现在杜丽娘"三重画像"的独特图绘模式所蕴含的创作理念,又表现在后来的出版物对其不断模仿与翻刻;明清两代不同版本"写真"图的创作与改写,反映了特定时期的文化趣味和审美意识,以及不同群体对戏曲文本的接受理解;插图创作传统悠久,从同一系列的"写真"图比较中考察插图的演变规律与功能,可以进一步发掘古代戏曲插图的发展状况与艺术价值.
Abstract
The image content,compositional layout and dissemination path of the illustrated version of Peony Pavilion in the Ming and Qing dynasties contain a wealth of cultural functions and meanings,but not much research has been done on the specific illustrations in Peony Pavilion in the academic world.This paper takes the"portrait"picture as the study target and analyzes the content and evolution of the illustrations in different versions.It is found that,the classicality and originality of the Shilinjushi version of the"portrait"illustrations are reflected in the creative concept of Du Liniang's unique mode of"triple portraits",as well as in the fact that the illustrations were constantly imitated and reproduced in later works;the creation and rewriting of different versions of"portrait"illustrations in the Ming and Qing dynasties reflected the cultural interest and aesthetic sense of a particular period,as well as the understanding of different groups of people of the text of the opera.With a long tradition of illustration creation,we can further explore the development and artistic value of ancient opera illustrations by examining the evolution of illustrations from the comparison of the same series of"portrait"drawings.
关键词
《牡丹亭》/插图/石林居士序刻本/戏曲/经典性/视觉性Key words
Peony Pavilion/illustration/preface engraving of Shilinjushi/Chinese opera/classicality/visuality引用本文复制引用
基金项目
国家社会科学基金青年项目(21CZW031)
出版年
2024
NETL
NSTL
万方数据