“架上连环画”的转型与跨界——10年中国连环画发展研究  

Transformation and Crossover of "Easel Comic":Study on Development of Chinese Comic in 10 Years

作　　者：王尔义[1,2] Wang Eryi

机构地区：[1]华侨大学美术学院 [2]中国美协连环画艺委会

出　　处：《美术》2022年第5期88-93,共6页Art Magazine

摘　　要：在20世纪10年代,中国连环画度过此前的低谷期,重新勃发了旺盛的生命力和复兴发展的态势。这归因于“大连环画”意识下的跨界发展,以及“新连环画”的概念转型与实践创新。其中,中国美术家协会及其连环画艺委会、相关的期刊、出版社、组织、收藏群体、绘本馆和作者等均付出了不懈的努力。本文围绕架上连环画的概念转型与创新发展,对20世纪10年代连环画发展情况展开分析,最终认为,在“大文科”背景和“大美术”理念下,连环画绘本的形式语言、风格面貌和传播方式,只有遵循着艺术当随时代和“百花齐放”式的多元化发展,才能发挥出自身的包容性、跨界性和雅俗共赏的叙事优势。In the 1910s,Chinese comic passed through their previous trough period,and recovered their exuberant vitality and the trend of revival and development.This is attributed to the cross-boundary development under the consciousness of "Comic",as well as the conceptual transformation and practical innovation of "new comic".Among them,the China Artists Association and its Comic Art Committee,related periodicals,publishing houses,organizations,collection groups,picture book galleries and authors have made unremitting efforts.This paper focuses on the concept transformation and innovative development of easel comic and analyzes the development of comic in the 1910s.Finally,it believes that under the background of "big liberal arts" and with the concept of "big fine art",only by following the rule that art develops with the times and the diversified development of "hundreds of flowers bloom together",the form language,style and communication mode of comic can give full play to their inclusiveness,crossover and narrative advantages that suit both refined and popular tastes.

关 键 词：连环画 架上连环画 绘本 转型发展 

分 类 号：J209[艺术—美术]