摘要
《画传剪灯新话》《牡丹灯笼画谱》体现了“牡丹灯笼”故事图像在日本的语图关系从伴生走向独立。“牡丹灯笼”故事的图像在浮世绘和妖怪画的创作中沿着“恐怖化”与“情色化”的路径演绎,最终确立了以“妖美”为主的审美特征。中国“牡丹灯笼”故事图像的绘制者避开了恐怖,同时绕过了香艳狎昵,图像多为所叙事件的“流程节点”。在中国民间对“牡丹灯笼”故事的记录中能够看到,故事回归于情节本身,呈现出民间化特征,《鄞县志》便体现了“牡丹灯笼”故事在宁波民间被接受的过程。“牡丹灯笼”故事是中国“牡丹灯”形象传统的变体,而日本民俗文化中的“死亡意识”与“情色文化”支撑故事以多种样态持续演绎。
The Illustrated Edition of Jian Deng Xin Hua and Peony Lantern Painting Book reflect the position of the"Peony Lantern"story image in Japan from concomitant to independent.The images of the"Peony Lantern"story are interpreted along the paths of"horrorization"and"eroticization"in the creation of Ukiyoe and monogatari paintings,and ultimately establish the aesthetic characteristics of"monster beauty".The painters of the Chinese"Peony Lantern"story images avoided horror and bypassed eroticism,and the images were mostly about the"process nodes"of the events described.In the folk records of the"Peony Lantern"story,it can be seen that the story returns to the plot itself,showing a folk characteristic.The"Yinxian Records"reflects the process of acceptance of the"Peony Lantern"story in Ningbo folk.The"Peony Lantern"story is a variant of the traditional image of Chinese"peony lantern",while the"death consciousness"and"erotic culture"in Japanese folk culture support the story to continue to be interpreted in various forms.
作者
赖劲昊
Lai Jinhao(Beijing Language and Culture University,China)
出处
《日语学习与研究》
CSSCI
2024年第4期115-127,共13页
Journal of Japanese Language Study and Research
关键词
剪灯新话
牡丹灯记
图像演变
中日比较
文献流播
Jian Deng Xin Hua
Mu Dan Deng Ji
image evolution
comparison between China and Japan
literature dissemination
作者简介
赖劲昊(1999-),男,汉族,北京语言大学中华文化研究院中国古代文学专业硕士研究生,研究方向:元明清文学,联系方式:E-mail:1340872386@qq.com。
