Narrative Study Of Language Pictures

"The West Chamber" became a book at the end of the Yuan Dynasty.The full name is "Cui Wei Waiting for the West Chamber".It is a talented and talented drama.It has many versions,the quality of the journal,and the influence of later generations.It is very famous in the history of Chinese ancient opera.There are few that can match it.This also makes the research on the version of The West Chamber and the commentary on the opera literature enduring for a long time,and the study of the illustrated book of The West Chamber has to wait until the 1980 s to receive the attention of the academic circles.From the existing research,the current research on the illustrations of The West Chamber mainly begins with the relationship between illustrations and culture,society and history.Few researchers use illustrations as a narrative and texts with The West Chamber.This is a reference study,so this article attempts to make up for this shortcoming.The West Chamber is a Yuan Zaju.As a narrative style,the Yuan Zaju is undoubtedly its core content,and the illustrator authors create illustrations based on the opera texts,which determines that the illustrations are a narrative image since its birth.Therefore,narrative has become a common task of opera texts and opera illustrations.However,it should be acknowledged that the viewing image is different from the reading text.The written language is far superior to the image in terms of the accuracy and time horizon of the narrative,but the content of the images such as composition,layout or position is not available in the language narrative.Therefore,the study of the illustrations of "The West Chamber" is not based on the analysis of the similarities and differences between language and image in the narrative medium,but from the particularity of the image-composition,layout and location-to discuss how the opera illustrations depend on vision.Logic to achieve narrative purposes.The full text is mainly divided into four parts:The first chapter briefly introduces the illustrations of the "West Chamber" of the Ming Dynasty from the three aspects of the popular,drawing and layout of the illustrations,and lays a foundation for the next research.The second chapter is centered on the relationship between illustrations and inscriptions in The West Chamber.It is intended to point out the change of the relationship between illustrations and inscriptions.It is actually a representation of the changes in the viewing patterns of the Ming Dynasty in the sense of visual culture.In general,in the late Ming and Ming dynasties,some illustrators have begun to consciously consider the aesthetics and fun of the illustration itself,rather than just using illustrations as a vassal to introduce the narrative content of the text.It is in this situation that the relationship between the picture and the title has a tendency to change from step by step to looming.Therefore,the change of the relationship between the picture and the title is actually a change in the visual mode of visual culture development.As this viewing mode matures and becomes more and more "image master",in the late Ming dynasty,how to use illustrations to describe illustrations is no longer something that illustrators want to worry about.They are more worried about the existence of inscriptions.It affects the beauty of the picture of the illustration itself.The third chapter focuses on the orientation narrative in the opera illustrations.It is intended to point out that there is a set of orthographic order in ancient Chinese images.Its generation and application have always been closely related to the way of writing from right to left.Especially in the illustrations of the West Chamber,which is based on books,the way in which the illustrations are displayed,the narrative order,the reading direction,and the dynamic direction of the characters are not affected.Therefore,how to use narrative purposes,which can not only conform to the right-to-left reading style,but also show the relevance between illustrations and illustrations in the painting space,has become a subject that the illustrator must face.In general,before the Wanli,in the illustrations of The West Chamber,whether from east to west or from west to east,the narrative sequence of images and the dynamics of characters are consciously imitating writing from right to left.the way.Therefore,a contradictory orientation order is formed between each illustration.However,in the last years of the Ming Dynasty,as the Ming people's viewing mode became increasingly "image master",the relevance of each illustration in the painting space became a subject that the illustrator must face,and the unified orientation order gradually began form.The fourth chapter focuses on the pursuit of “visual entertainment” in the culture of the late Ming Dynasty.It is intended to point out that although the illustrator is in the form of a picture,the storyline in the opera text is presented.However,in some Ming and Qing dynasties,the illustrator What I want to bring to the reader does not seem to be a deeper understanding of the text of the opera and the character of the character,but rather a pursuit of a visual entertainment.If the relationship between language narrative and image narrative is put into the pursuit of "visual entertainment" in the late Ming Dynasty publishing culture,it is obviously not only the problem of imitating or reappearing,but also the "good deeds of the case."The viewing experience problem." This is an important phenomenon in the history of Chinese traditional visual culture.