明刊戏曲插图与明代绘画语汇的互文性关系

On the Relationship of Intertextuality between Opera Illustration and Painting Vocabulary in Ming Dynasty

作为研究"语-图"互文问题的典范文本之一,中国古代特别是明刊戏曲插图本包含着极为丰富的语图资源,蕴藏着极为复杂的"语-图"互文规律。事实上,戏曲插图一方面对戏曲语言文本有所依凭,另一方面又必然有所溢出。由于明代大量文人画家参与版画制作,戏曲插图有时便成为文人们遣意抒怀的艺术形式。此时,插画家就会超越戏曲文本的限制和约束,有时是"远取",即从传统和历史文本中吸取资源;有时则是"近譬",从当时的绘画艺术中寻找惯用的题材,或使用绘画中的艺术元素加以表现,因而形成了插图世界中特定的绘画语汇,同时使戏曲插图呈现出一定的文人情怀和文人画色彩。而此时的插图与绘画不仅是风格、取材等方面的相通相似,更在内在旨趣方面相勾连;此时的插图不只是戏曲文本的附属物,同时具有超越和溢出的独立艺术价值。绘画语汇与戏曲插图、戏曲文本的相互应和,形成了特殊形态的近距离互文,从而大大丰富了戏曲插图本"语-图"互文的基本型态。

As a typical text of intertextuality between image and word, the Ming-dynasty bock-printed opera illustrations have lots of resource and regularity for the research of intertextuality. In fact, opera illustrations are based on the word-text of opera works, and overflow it at the same time. The opera illustrations usually become the way of expressing their emotions for some literaties and artists. They usually suck resources not only away from the tradition works（far association）, but also the ＂painting vocabula- ry＂ existing in the contemporary paintings（ close analogy）, which makes opera illustrations full of iterati emotions and feelings. In this sense, the opera illustrations are in accordance with the contemporary paintings concerning style, theme and purport, and have independent and transcendent artistical values compared with the opera texts. The painting vocabularies, with opera illustra- tions and opera tcxts, come into being a special and close - distance kind of intertextuality, which greatly riches the types of in- tertextuality between image and word concerning the bock -printed opera illustrations.