作　　者： (汪一辰）; (张伟）;

机构地区： 安徽农业大学人文社会科学学院,安徽合肥230036

出　　处： 《黄山学院学报》 2017年第4期78-83,共6页

摘　　要： 作为明清小说文本中普泛的视觉符号,小说插图在阐释小说语言文本的同时也形构着自身独特的艺术样式与审美逻辑,明清时期《水浒传》插图的三种版式即为代表。从建阳的"评林本"到杭州的"容刻本"再到徽州的《水浒叶子》,这种插图版式的流变不仅是艺术风格的创新,更形成了不同体例的"图文"关系,其内在又潜藏着小说观念演变、文人化创作以及明代后期唯美主义的社会风尚等多重社会文化作用机制。就其予以探讨,对当下的"图文"之争以及视觉文化研究都具有一定的启发意义。 As a popular visual symbol in novels during the Ming-qing period, novel illustration not only illustrates the language in novels but also forms its own unique artistic pattern and aesthetic logic. There are three representative versions of the illustration of Water Margin during the Ming-qing period： the Pinglinben version in Jianyang, the Rongkeben version in Hangzhou and the Shuihu Yizi version in Huizhou. The flux of illustration formats above not only reflects the innovation of artistic style, but also the establishment of different image-text relationship. Behind the flux are multiple social and culture mechanisms, such as the development of novel notions, the scholastic creation and the aesthetic social trends in the late Ming dynasty, which can, to some extent, inspire the current image-text fight and the research of visual culture.

关 键 词： 小说插图 图文 关系 图像叙事 版式流变