摘要
明代刻书事业发达,且无书不图。由"剪灯二种"的地域版本比较看出,插图优劣与地域书坊发行策略密切相关。建安书坊以射利为主,几乎刻遍明以及明以前的小说戏曲文本,然质量粗劣。徽州木刻插图走精品路线,实现了木刻插图由辅助阅读到艺术欣赏的跨越。"剪灯二种"插图之质量、风格与小说传播密切关联。
The publishing was developed in Ming Dynasty,and few books were without illustration.Comparing local versions of two kinds of Jian Deng,it showed that the quality of illustration and the strategy of publication of the local carving houses were closely related.Most of fiction and scenario scripts of Ming Dynasty and before were printed by the carving houses of Jian-an focusing on profit making.However,the quality was poor.Oppositely,the woodblock illustration of Huizhou was with high quality and realized the great leap or change from reading-supplementary to artistic appreciation in woodblock illustration.The quality and style of illustrations of the two kinds of Jian Deng was closely related to the spread of the works.
基金
江苏省社会科学基金项目"木刻插图与江南地区明清小说戏曲之传播"(项目编号:06JSBY007)
国家社会科学基金资助项目"木刻插图与明清小说戏曲之传播"(项目编号:07CZW015)
关键词
“剪灯二种”
木刻插图
传播
the two kinds of Jian Deng
the woodblock illustration
the spread
作者简介
乔光辉（1970～），男，江苏连云港人，东南大学人文学院教授，博士生导师；
薛勇强（1984-），男，山西临汾人，三秦出版社编辑
