鼓词的文字与视觉艺术 ：《木皮散客鼓词》书画形式之特色 = Written text and visual art of Gu Ci characteristic of painting and calligraphy in Mu Pi San Ke Gu Ci

• Main Author: 钟甄甄 Chong, Ting Ting
• Other Authors: Crossland-Guo Shuyun
• Format: Final Year Project
• Language: Chinese
• Published: 2017
• Subjects: DRNTU::Humanities
• Online Access: http://hdl.handle.net/10356/69631
• Institution: Nanyang Technological University

中国文学史的核心并不是完全地由雅正文学所填满的,其中俗文学也在这个脚本 占了不可或缺的角色。俗文学的范围及其广泛,鼓词亦是如此,鼓词的前身是变文, 故其具有变文的身影。然而,鼓词正是在时代社会及大众喜好变化的过渡中,进而 慢慢发展形成的说唱文学。虽然现在再也听不到木皮鼓词阴阳顿挫的唱调,但这部鼓词留下的文字却意犹未 尽。本文将以贾鳧西的《木皮散客鼓词》,韵生辑绘的文本为主,进行层次化的分 析。笔者将从书画相结合的角度为切入点,进而考究插画在《木》中的表述方式与 图文并茂的视觉艺术。此外,通过对比两种不同版本的《木皮词》来考察作品在流 传过程中叙事的变异。The core history of Chinese literary is not completely filled by Traditional Literature, the Folk Literature also plays an indispensable role along the history. The scope of Folk Literature has a wide-ranging which Gu Ci also same as. The predecessor of Gu Ci is Bian Wen, therefore it contains the figure of Bian Wen. However, the reason that Gu Ci became as a Rap Literature is due to the changes of era and public preferences. Despite we cannot hear the tone and melodies of Mu Pi Gu Ci, we can observe and study the passed down text which private copies by others. This paper aim to hierarchical analysis the original text by Jia Fu Si’s <Mu Pi San Ke Gu Ci> and illustration design by Yun Sheng. By combining painting and calligraphy as the breakthrough point, author attempts to explore the visual art of expression and illustration in <Mu Pi San Ke Gu Ci>. In addition, to examine the narrative differences in the spreading process by comparing two different versions of <Mu>.