视觉文化新变——以晚清至民国石印《水浒》及其插图为中心  

New Changes in Visual Culture:Centered on Lithographs of the Water Margin and Illustrations from the Late Qing Dynasty to the Republic of China

作　　者：程国栋 Cheng Guodong(Department of Fine Arts,Hubei Institute of Fine Arts)

机构地区：[1]湖北美术学院艺术人文学院

出　　处：《美术》2025年第1期104-113,共10页Art Magazine

基　　金：2024年国家社科基金艺术学项目《中国近代期刊装帧史料的整理与研究》(项目批准号:24BG135)的阶段性研究成果。

摘　　要：本文探讨了《水浒传》传播自清初以降的衰落之由和在晚清的复兴之因,对晚清至民国新刊石印本《水浒传》的出版情况做了基础性的梳理,对各种石印水浒插图做了系统的归纳分析,得出结论认为,这段时期的《水浒传》多数为七十回本,插图大都采用了绣像加情节性插图的模式,主要分成了以同文书局本为代表的精雅型图画和以多数石印书局为代表的民间诙谐型图画。所同者在于,它们继承了陈洪绶《水浒叶子》的图式,又加入了清代服装和戏曲扮相元素,对西方绘画的透视等表现技巧也有所吸收,对于中国连环画的诞生更是有着先导意义,堪称近代通俗美术的一个重要标本。This article discusses reasons for the decline of the spread of the Water Margin since the early Qing Dynasty and its revival in the late Qing Dynasty,combs through the publication of new Water Margin lithographs from the late Qing Dynasty to the Republic of China,and systematically analyzes illustrations in various lithographs.On this basis,it is concluded that most publications during this period were 70-chapter versions with embroidered plot-related illustrations,which were mainly divided into exquisite illustrations with those published by Tongwen Book Company as a representative and humorous folk illustrations with those published by lithograph book companies as a representative.Their similarity lied in that they adopted the pattern in Chen Hongshou's version of the Water Margin,added elements of costumes and opera of the Qing Dynasty and drew inspiration from perspectives in western paintings.Therefore,they played a pioneering role in the emergence of comic strips in China,and can be regarded as an important example for modern popular art.

关 键 词：清末民初 水浒插图 上海 石印技术 通俗视觉文化 

分 类 号：J209.2[艺术—美术] K25[历史地理—历史学]