《三国志玉玺传》对《三国演义》的改编得失及其艺术启示  

Sanguo Zhi Yuxi Zhuan Adapted Romance of the Three Kingdoms:Gains&Losses and the Enlightenment

作　　者：符丽平 FU Liping(Wuhou Shrine of Chengdu,Chengdu 610041,China)

机构地区：[1]成都武侯祠博物馆,四川成都610041

出　　处：《湖北文理学院学报》2023年第10期11-15,共5页Journal of Hubei University of Arts and Science

摘　　要：《三国志玉玺传》从艺术形式、故事内容、思想内涵对明代版本《三国演义》做了改编。这些改编结合当时主流思想价值观念,基于创作者自身的思想认识,对大众喜欢的题材采用全新但大众喜欢的艺术形式,在当时应该是获得认可的。但《三国志玉玺传》毕竟未能成为三国题材的经典作品,可能是由于上述改编对原作品思想内涵即精华部分的抛弃导致其作品定位的模糊性;不考虑历史真实、长期以来大众形成的认知和中华民族社会心理对人物进行改编塑造;艺术形式上,未在继承同时又根据内容进行创新,使其与所表达的内容更为适应。这些得与失为当下《三国演义》的改编提供了借鉴和参考。Sanguo Zhi Yuxi Zhuan is an adaptation of Romance of the Three Kingdoms(the Ming Dynasty version)in terms of art form,story content and ideological connotation.These adaptations combined with the mainstream ideological values at that time,based on the creator’s own ideological understanding,and adopted new but popular art forms for the themes that the public liked,which should have been recognized at that time.However,Sanguo Zhi Yuxi Zhuan failed to become a classic work with the theme of the Three Kingdoms after all.It may be based on the above-mentioned adaptation that abandons the ideological connotation of the original work,that is,the essence of the work,resulting in the ambiguity of the positioning of its work;it does not consider the historical reality and the long-term public perception.The characters are adapted and shaped according to the social psychology of the Chinese nation;in terms of art form,the art form is not inherited and at the same time innovated according to the content to make it more suitable for the content expressed.These gains and losses provide reference for the current adaptation of Romance of the Three Kingdoms.

关 键 词：《三国志玉玺传》 《三国演义》 作品改编 

分 类 号：I207.41[文学—中国文学]