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《红楼梦》刊本绣像是小说除语言文字外的重要有机组成部分,绣像不同的人物选取与组织方式,反映了刻绘者这一特殊群体对小说主题、结构、人物关系、叙事重点等方面的不同理解和呈现。《红楼梦》刊行初期,以程甲本为代表的24页绣像体系,虽将众钗作为主体,却在排序上体现了对家族主题的特别强调。而坊间流行的以藤花榭本为代表的15页绣像体系,从表面看似是家族意识的弱化,实则将小说旨意缩减为才子佳人以招徕看客。《红楼梦》刊行中期,以双清仙馆本为代表的64页绣像体系,则首次非常纯粹地展现了一个女儿世界,并将宝、黛、钗三人的情感纠葛有力凸显了出来。至清末民初,石印、铅印技术使得大规模版刻插图再次兴起,《红楼梦》刊本人物绣像与回目图一起,共同呈现了一幅甚为广阔丰富的社会生活图景。
Embroidery of A Dream of Red Mansions is an important organic part of the novel except for words and phrases. The selection and organization of different characters in embroidery resembles the difference between the special group of scribes and their themes, structure, characters and narrative focus Understand and present. At the beginning of the publication of A Dream of Red Mansions, the 24-page embroidery system, represented by Cheng Jiaben, although featured by numerous hairpin, embodies special emphasis on family theme in the rankings. However, the popular 15-page embroidery system represented by vine and flower pavilion seems to be a weakening of family consciousness. On the contrary, the intention of the novel is reduced to the genius and beauty to attract spectators. In the middle of the publication of A Dream of Red Mansions, the 64-page embroidery system represented by the Shuangqing cemetery will, for the first time, show the world of a daughter very purely and highlight the emotional entanglements of Bao, Dai and Chai. By the end of the Qing Dynasty and the beginning of the Republic of China, stone-gravure and lead-printing techniques had made the large-scale engraving reinstall. The portraits of the Red Mansions portraits together with the reincarnation presented a very broad and rich picture of social life.