敦煌变文与中国章回小说绘画式叙事传统  

Dunhuang Bianwen and the Painting-Style Narrative Tradition in Chinese Chapter Novels

作　　者：萧晓阳[1] 肖龙 XIAO Xiao-yang;XIAO Long

机构地区：[1]中南民族大学文学与新闻传播学院,湖北武汉430074

出　　处：《中南民族大学学报（人文社会科学版）》2024年第1期163-171,187,188,共11页Journal of South-Central Minzu University (Humanities and Social Sciences)

摘　　要：中国古典章回小说赓续了敦煌变文绘画式叙事传统。变文叙事的绣像式写人艺术在平话与章回小说中体现为人物形象的绘画式书写传统,变文立象求意的寓言式画卷幻化为章回小说中的隐喻性形象;变文依画说变将经变画卷群像转换为多个传奇故事,赋予了章回小说连环画式群像书写范式;变文图像化的情境营造出讲唱的氛围,蕴含着山水风俗画的诗意与灵性,演绎为章回小说的灵境。变文的绘画式讲述方式推动了神魔小说的世俗化进程,开创了中国通俗小说绘画式叙事传统,并影响到小说人物性格的写意化与类型化倾向。经变图文中的佛经故事对于章回小说而言,具有故事原型的意义。降魔变以神奇的绘图式叙事策略为中国章回小说提供了基本的叙事模式降魔叙事模式。Classical Chinese chapter novels inherited the painting-style narrative tradition of Dunhuang Bianwen.The embroidered image-style portrayal of characters in Bianwen narratives is reflected in Chinese pinghua and chapter novels as a traditional form of painting-like writing.The allegorical imagery of Bianwen symbolic paintings is transformed into metaphorical images in chapter novels.Bianwen,through the use of storytelling accompanied by paintings,transforms the panoramic portraits of Buddhist scriptures into multiple legendary stories,giving chapter novels a serial pictorial writing paradigm.The pictorial context of Bianwen creates a storytelling atmosphere,embodying the poetic and spiritual qualities of landscape and customs paintings,and interpreting the spiritual realm of chapter novels.The painting-style narrative of Bianwen propelled the secularization of supernatural novels,pioneered the painting-style narrative tradition in Chinese popular novels,and influenced the stylization and typification of novel characters.The Buddhist stories in Bianwen texts have significant implications for chapter novels as story prototypes.The demon-subduing Bianwen provided a fundamental narrative model for Chinese chapter novels with its magical and illustrative storytelling strategies.

关 键 词：敦煌变文 绣像摹写 连环画图 灵境营构 叙事传统 

分 类 号：I207.424[文学—中国文学]