Research On The Relationship Between Text And Illustrations About Romance Of Three Kingdoms In Ming And Qing Dynasties

Based on the illustrated edition "text" of Romance of Three Kingdoms in Ming and Qing dynasties,this article sorts out the relationship between various versions,illustration form and novels' plots,thereby summarizing the basic forms of words and images9 performance and inherent laws of intertextuality phenomenon.The article is divided into six parts as follows.The introduction part is eoncentrate on the existing research literature system,including the origin of this study,introduced the related research status at home and abroad,academie value and research methods used in the study.This part of the literature review mainly involve the domestic and foreign scholars on the illustration of Romance of Three Kingdoms research perspectives,content,and the deficiencies or points remaining to be further explored yet,ect.,which is great significance for carry?ing out this research.The first chapter tries to investigate the creative ideas,which used by Luo Guan zhong in Romance of Three Kingdoms.The investigation is divided into two parts,the first part is collecting and analyzing relevant historical works,such as History of Three Kingdoms with its notes written by Pei Song zhi,History of a mirror,History of a mirror outline and other related historical records;the second part is examining the course of ancient folklores about Three Kingdoms,the interpretation of stories about Three Kingdoms,and various literary works appeared during Chinese Dynasties.The creative ideas used in Romance of Three Kingdoms was "According to the official history,drawing materials from fictions,certificating diction,adapting the public preferences and advocation".In addition,this part will discuss the related image(ancient paintings on the Three Kingdoms)and all kinds of genres about the story,to explore the original process of Romance of Three Kingdoms generated.The second chapter discusses the configuration texts and images of illustrated edition Romance of Three Kingdoms and its rheological characteristics.Since the illustrations in popular novels printed during Ming and Qing dynasties,with a strong regional characteristics,for an example,the illustrated edition produced by Ye Feng chun in Jian yang,Fujian province,had obvious geographical characteristics:style unadorned simplicity,small graphics,composition is simple,rough lines,with many features of folk prints.The Shuang Feng Tang(???)workshop,produced another illustrated edition Romance of Three Kingdoms,followed the illustration style of Ye Feng chun's edition,while corrected the illustrations did not conform to the text.Therefore,this chapter discuss the style features from the books printed in Jian yang,Nanking and Su chou.In Jian yang,Fd like enumerate such versions,which produced by Xiong Qing bo,Wu Guan ming and other workshops.To the versions printed in Jin ling,I'll introduce Zhou yue jiao and Zheng Yi chen.In Jervois,the versions printed by workshops,such as Yi Bai Tang(???),Bao Han Lou(???)and Lu Yin Tang(???)in Wu county will be discussed.In addition,this chapter will also introduces many versions printed in the Qing dynasty.The illustrated editions listed above are typical,and they represented the engraving style at that time.The graphic configuration of illustrated edition Romance of Three Kingdoms known to exist is divided into two classes:the "text" and the "images" as a whole,the"text" and the "images" discrete.The former includes embedded illustrations style,deviated from the center position illustrations style,and folio style illustrations,these illustrations are mostly in the form of illustrations at the top of the text,it is also called the figure below formula.The latter includes tapestry portraits,frontispiece/vo-lume header figure.Moreover,we should try hard to summarize the rules from the graphics configuration through their inheritance and evolution process during the Ming and Qing dynasties.Along them,the frontispiece/volume header figure refers to the novel begins(frontispiece or volume header)with one or two or even with a series of illustrations.This style of illustrations originate from the Buddhist scriptures,such as Diamond Sutra inscribed and printed in ninth year during Xian tong period Tang dynasty.As a result,Diarriond Sutra had set an example for the illustrated books.Zhou Yue jiao,who printed A new inscribed ancient manuscripts Popular Ro,riance of the Three Kingdoms corrected with large characters and phonetic notation,adopted the graphic configuration,that is two pictures illustrated at every volume header of the book."The figure below style" refers to every page with illustrations,basically two-thirds of each page copied or engraved below the text,and the upper third of the image,but also about drawing couplet style the "headlines".This graphic configurati-on in the Romance of Three Kingdoms is more common.The third chapter discusses the novel text and images featured in shaping the character of each area.In terms of characterization,language shaped figure,although vague,but the reader is left to the imagination of the larger;painting character is shaped by the specific intuitive,but it depends largely on the painting's image by right text interpretation.Thus,the characterization of these two pathways have large differences,which is bound to bring the readers to read and accept the greater impact.This chapter not only pay attention to the Romance of Three Kingdoms in the text as a whole-Figure overall features in characterization aspects,but also focus on the specific analysis combined with the case,that is,for all of the shape(image portrayed the character creation)of the same characters were comparative analysis.The fourth chapter from the perspective of narrative to interpret the Romance of Three Kingdoms text-Figure relationships.In describing one episode,the language in chronological order or linearly sequential narrative style complex showed multiple lines of narrative,and the image can only be presented in a way to freeze-frame a scene.In the Romance of Three Kingdoms all this,this difference is widespread.For an example,"Zhou Yu commanded to kill the Messenger dispatched by Tso cao",in The comment on Romance of Three Kingdoms printed by Shuang Feng Tang(???)workshop,appears disjointed narrative images and text,the text describes the events that are carried out in a large tent,and the image portrayed in the story happened on board.Another example is "Kong Ming and Zi Jing pay a formal visit to Zhou Yu" in The new engraved popular Romance of the Three Kingdoms corrected by Tang Xue shi,which printed by Tang Bin Yin,shifted the image scene into Kong Ming and Zi jing awaiting in front of Zhou Yu's House.The conclusion part is mainly about the theses have not been discussed in the article.In this part ? was on some of the major collate and summarize the chapters discussed,and the end of the full text.