古代小说戏曲插图同框手法的运用  

The Use of the“Same Frame”Technique in Illustrations of Ancient Novels and Operas

作　　者：李梅 Li Mei(Shinjiang Normal University,Urumqi 830017)

机构地区：[1]新疆师范大学,乌鲁木齐830017

出　　处：《鹿城学刊》2025年第1期52-55,共4页Journal of Lucheng

摘　　要：在古代小说戏曲的创作过程中,插图的使用非常普遍。插图的使用不仅能够直观地展示小说戏曲文字描绘的内容,还能提高小说戏曲的感染力、吸引力。在插图的应用中,同框手法的应用具有衬托的效果,在古代小说戏曲中经常使用。文章以清代小说«增图像足本金瓶梅»中使用的同框绣像图、明代戏曲«西厢记»中使用的虚实同框、明暗同框等同框手法为例,对古代小说戏曲中使用的插图同框手法进行分析。The use of illustrations was very common in the creation of ancient novels and operas.Illustrations not only pro-vide a visual representation of the content depicted in the text but also enhance the emotional appeal and attractiveness of the novels and operas.Among the various techniques in illustration,the“same frame”technique has a complementary effect and was frequently used in ancient novels and operas.This paper analyzes the use of the“same frame”technique in illustra-tions,taking as examples the embroidered illustrations used in the Qing dynasty novel Zengtuxiangzuo Benjingpingmei,and the use of virtual-reality framing and light-dark framing in the Ming dynasty opera Xixiangji.

关 键 词：古代小说戏曲 插图同框 应用策略 

分 类 号：I207.41[文学—中国文学]