论刘建庵的木刻连环画《阿Q的造像》
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摘要
刘建庵是中国新兴木刻运动的先驱者之一,他创作的《阿Q的造像》是其最重要的作品之一。他基本按照小说的情节线索,择取关键性的场景和人物行为构图,对作品进行了独特而深入的解读与阐释。在给阿Q造像时,既注重哀其不幸的人生,更突出其可厌可憎之处,其他人物形象有些脸谱化。他大多运用近景、中景构图,常常在人物之间的冲突与矛盾中展开构思和构图。他在中国书画传统的基础上,大多采取平视视角构图,也运用了西方绘画的透视法,作品大多是阳刻,在朴拙的线条中呈现性格;偶然也用阳刻与阴刻结合的方法,在黑白对比中使画面更为生动。
Liu Jianan was a pioneer of China's new woodcarving movement,and one of his important works was The Portraits of Ah Q.He followed the plot but took some key scenes,characters and their behaviors to form pictures and provided a unique and profound reading and interpretation of the work.When he made portraits for Ah Q,he sympathized with Ah Q's misfortune but brought out what is disgusting and hateful on Ah Q as well.Other characters were somehow stereotyped. Most of his pictures were close or medium shots that described the confrontations and conflicts between characters. He mostly followed the tradition of Chinese paintings,using the eye-level shots,but he did not reject the western perspective.Most of pictures were made with reliefs,and characters were shown in simple lines,but occasionally he combined reliefs with shadows,making the pictures more vivid with the black and white contrast.
Liu Jianan was a pioneer of China's new woodcarving movement,and one of his important works was The Portraits of Ah Q.He followed the plot but took some key scenes,characters and their behaviors to form pictures and provided a unique and profound reading and interpretation of the work.When he made portraits for Ah Q,he sympathized with Ah Q's misfortune but brought out what is disgusting and hateful on Ah Q as well.Other characters were somehow stereotyped. Most of his pictures were close or medium shots that described the confrontations and conflicts between characters. He mostly followed the tradition of Chinese paintings,using the eye-level shots,but he did not reject the western perspective.Most of pictures were made with reliefs,and characters were shown in simple lines,but occasionally he combined reliefs with shadows,making the pictures more vivid with the black and white contrast.
引文
[1]魏华龄,李建平.抗战时期文化名人在桂林[M].桂林:漓江出版社,2000.
[2]顾炳鑫.怎样画连环画[M].上海.上海人民美术出版社,1965.
(1)详见郑振铎《呐喊》,载于《文学周报》第251期,1926年11月21日。
(1)参见黄蒙田《怀念刘建庵》,载邹平县政协文史办《邹平文史资料选辑》第2辑,1985年印,第195页。
(2)详见茅盾《读〈呐喊〉》,载于《时事新报》副刊《文学》第91期,1923年10月8日。
(3)详见张天翼《论〈阿Q正传〉》,载于《文艺阵地》第6卷第1期,1941年1月10日。
(1)详见苏雪林《〈阿Q正传〉及鲁迅创作的艺术》,载于《国闻周报》第11卷第44期,1934年11月5日。
[2]顾炳鑫.怎样画连环画[M].上海.上海人民美术出版社,1965.
(1)详见郑振铎《呐喊》,载于《文学周报》第251期,1926年11月21日。
(1)参见黄蒙田《怀念刘建庵》,载邹平县政协文史办《邹平文史资料选辑》第2辑,1985年印,第195页。
(2)详见茅盾《读〈呐喊〉》,载于《时事新报》副刊《文学》第91期,1923年10月8日。
(3)详见张天翼《论〈阿Q正传〉》,载于《文艺阵地》第6卷第1期,1941年1月10日。
(1)详见苏雪林《〈阿Q正传〉及鲁迅创作的艺术》,载于《国闻周报》第11卷第44期,1934年11月5日。
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