画中镜与镜中画——明清戏曲小说版刻插图中的镜子意象及叙事意蕴  

Mirror in Painting and Painting in Mirror:Mirror Images and Narrative Implications in the Engraved Illustrations of Ming and Qing Xiqu and Fictions

作　　者：韩文文 龙迪勇[1] Han Wenwen;Long Diyong

机构地区：[1]东南大学艺术学院,211189

出　　处：《文艺理论研究》2024年第3期90-100,共11页Theoretical Studies in Literature and Art

基　　金：国家社会科学基金重大项目“明清小说戏曲图像学研究”[项目编号:19ZDA256]的阶段性成果。

摘　　要：镜子作为一种可以成像的工具,往往具有神秘色彩。从最开始的映照之物到之后的符号隐喻,镜子因其成像的实际功能及多重象征意义时常出现在明清通俗小说和戏剧的版画插图中。作为一个实体承载物,画工们利用镜面映照出的图像,创建了插图世界中的另一个图像时空,隐喻着插图中未曾明确表达出的深层情感与人物命运,形成一种特殊的视觉形象——“镜中画”;作为一种入画的绘画符号,“镜中画”又成为整个主画面表达中的一个局部,进而成为“画中镜”。画工们不但利用镜子拓展了画面的空间,而且通过镜像中的“画中画”不断地和主画面中的各种物象产生联动,带领观者进入“画中画”的世界,向我们诉说着无尽的意味。Mirrors,as a tool for presenting images,often have a mysterious quality.From the initial reflection to the later symbolic metaphor,mirrors often appear in the illustrations of popular fictions and xiqu in the Ming and Qing dynasties due to their practical imaging function and multiple symbolic meanings.As a physical carrier,painters use the images reflected by mirrors to create a different image of space-time in the illustrated world.It symbolizes deep emotions and characters'destinies that were not clearly expressed in the illustrations,creating a special visual image of“painting in the mirror”.As a pictorial symbol,the“painting in the mirror”becomes part of the whole expression of the main picture,becoming“mirror in the painting”.Painters not only use mirrors to expand the space of the picture,but also continuously interact with various objects in the main picture through the“picture in picture”in the mirror,leading viewers into the world of“picture in picture”with endless meanings.

关 键 词：画中镜 镜中画 明清戏曲小说 版刻插图 时空叙事 

分 类 号：I206.2[文学—中国文学] K248[历史地理—历史学] J218.5[历史地理—中国史]