“拜月”插图之出相、评点与展演——以李评本《幽闺记》与凌刻本《拜月亭记》为考察中心

Chuxiang,Annotations and Performances of Moon Prayer Pavilion: A Case Study of Li Zhuowu's Annotated Edition and Ling Yanxi's Engraved Edition

本文以明刊李评本《幽闺记》、凌刻本《拜月亭记》"拜月"插图为中心,考察《拜月亭》插图版画与曲文叙事的互文与关涉,从图序出相与图题评点,曲意生发与图景展演、人物姿态与场面张力等层面,分析图版场景非单一再现而嵌入鉴识评点意趣,如何重构曲境;插图与对应关目及叙事细节的呼应如何呈现多重造像功能;插图虚景重构、扮相塑形,如何提供了与文本异质同构的想象、鉴识与展演空间,从而构建人与景、图与文、绘图造像与拟形表演多层次的互动关系。这种图式细节的阐释过程,有助于进一步认知插图版画与曲文结构的内在关系,及明中后期插图版画之于戏曲传播的意义。

Based on Li Zhuowu’s annotated edition and Ling Yanxi’s engraved edition of Moon Prayer Pavilion,the article analyzes intertextuality and connection between its illustrations and dramatic narrative. Specifically,it makes an analysis from the following aspects: chuxiang( illustrations on the upper part of a page with texts below),illustration order and inscriptions on the illustrations,textual meaning expression and performance of story scenes,figure gestures and scenic tension,etc. Considering all the aspects,the article tries to illuminate how the book reconstructs artistic conception by inserting annotations instead of only displaying the plot through pictures; how it shapes the characters through coordinating illustrations and corresponding plot with narrative details; how the illustrations leave a space for imagination,appreciation and performance,diverse in form but same in substance with the text,when depicting virtual scenes and creating images by characters ’ costume and gestures,which further establishes the interactive relationship among characters and scenes,pictures and texts,picturing figures and performances.Interpreting graphic details contributes to further understanding of the internal relationship between illustrations and textual structures as well as of the significance of illustrations in spreading xiqu plays in the middle and late Ming dynasty.