窦娥故事之“斩娥”情节的图像展示研究

Research on Plot Images of Beheading Dou E from the Dou E Story

研究窦娥故事之"斩娥"情节的图像展示,分析画面表现与故事的文字呈现之间的关系,可以发现若干审美问题。明清古画选择窦娥被斩杀前的刑场进行展示,跪地的窦娥所占画面比例极小,以此来凸显窦娥的弱势与悲剧性。后世有不少绘画深受明清古画设计思维的影响,但也有不少画作放大了窦娥在画面中的比例,突显窦娥的抗争精神。戴敦邦、高马得等人的戏画没有以上画作的现实感,却在展示舞台表演的艺术性方面下了功夫。连环画则突破了空间的限制,多侧面多维度地呈现故事情节。一些对故事有一定游离、却具有较强独立欣赏价值的画作独具个性,以其顷刻选择、构图、笔锋、色彩等方面的特点达到较高的艺术高度。

If we research plot images of beheading Dou E from the Dou E Story,and analyze the relationship between images and literature,we can find some aesthetic problems.Some ancient paintings of Ming and Qing displayed the execution ground at the moment just before Dou E was beheaded.In these paintings,Dou E knelt on the ground and occupied a little proportion of the image,which underlined Dou E’s fragile and tragic nature.Later,many paintings were influenced by the design of ancient paintings of Ming and Qing.There were also some paintings with enlarged Dou E’s proportion in the image so that her struggling spirit was highlighted.Paintings of traditional Chinese opera were drawn by Dai Dunbang,Gao Made.They spent a lot of effort in displaying the art of stage performance but ignored the artistic reality.Picture-story books can break the space limitation,and present story in multi-aspects and multi-dimensions.Other paintings stay away from the Dou E story and have distinct appreciation value.Those paintings reach an artistic height through their choice of drawing instant,composition,brushstrokes and colors.