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文艺理论研究

文艺理论研究 ›› 2021, Vol. 41 ›› Issue (5): 13-24.

• 专题：戏曲研究 • 上一篇    下一篇

明代戏曲插图与舞台演出关系献疑

朱浩   

  1. 中南财经政法大学新闻与文化传播学院
  • 出版日期:2021-09-25 发布日期:2021-09-26
  • 作者简介:朱浩，艺术学博士，中南财经政法大学新闻与文化传播学院讲师，主要从事中国古代戏曲、明清戏曲图像研究。
  • 基金资助:

    教育部人文社会科学研究青年基金项目“明清戏曲图像的整理与研究——以戏曲史为本位”［项目编号：17YJC760123］、中央高校基本科研业务费专项资金资助项目［项目编号：2722020JCT016］的阶段性成果。

Revisiting the Relationship between Xiqu Illustrations and Stage Performance in the Ming Dynasty

Zhu Hao   

  1. School of Journalism and Culture Communication, Zhongnan University of Economics and Law
  • Online:2021-09-25 Published:2021-09-26
  • About author:Zhu Hao, Ph.D., is a lecturer at the School of Journalism and Culture Communication, Zhongnan University of Economics and Law. His research interests include Chinese xiqu and xiqu image during the Ming and Qing dynasties.
  • Supported by:

    the Ministry of Education Humanities and Social Science Youth Project (17YJC760123) and the Fundamental Research Funds for the Central Universities (2722020JCT016).

PDF (PC)

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摘要：

20世纪90年代以来，明代戏曲插图与舞台演出之关系，在学界逐渐成为一个热门议题，且形成了较为一致的结论，几乎成为中国古代版画研究不言而喻的“共识”。但若将此议题置于当时的学术语境以及美术史、戏曲史跨学科视野下进行逻辑链的重新审视，会发现其乃一个主题先行之下虚构出来的伪议题。戏曲演员不存在“照图扮戏”之事，“本传逐出绘像，以便照扮冠服”只是书商的广告策略和把戏。而“照戏绘图”论的缺陷在于，仅根据插图在联语版式、人物动作和构图风格等方面与舞台表演之间的一些“貌合”，就汲汲于在二者之间建构单一的因果链条，而故意规避了美术史内部的真正探因。明代戏曲插图是对生活场景的状摹，不是舞台场面画，在此意义上其与明代其他体裁的插图并无二致。     

关键词:

"> 戏曲插图；舞台演出；“照扮冠服”；因果链

Abstract:

Since the 1990s, the relationship between xiqu illustration and stage performance in the Ming dynasty has attracted increased scholarly attention. The conclusions, “performing in accordance with pictures” and “drawing in accordance with performances”, have almost become a self-evident consensus in the history of ancient Chinese printmaking. However, if we re-examine this issue from an interdisciplinary perspective of art history and theatre history, we will find that it is a pseudo-proposition raised to meet specific standards. Xiqu actors did not “perform in accordance pictures”, which was booksellers’ advertising strategy. On the other hand, the problem of “drawing in accordance with performances” is that scholars are eager to establish a causal chain between the similarities of language format, character movements and composition style, but deliberately avoid the inner reasoning of art history. Just like illustrations of other genres, xiqu illustrations in the Ming dynasty were delineations that imitate scenes of life rather than stage performances.

Key words:

Xiqu illustrations, stage performance, “performing in accordance with pictures”, causal chain