《三國演義》內容以描寫謀略、戰爭為主，文中登場角色眾多，人物形象鮮明。因此，本文研究對象為插圖本《三國演義》，使用圖文互釋研究方法，試圖找出在相同系統中不同版本的《三國演義》，分析其圖像再與文本對照，進一步討論圖像與文本的關係，來判斷不同版本插圖本《三國演義》的優劣關係。小說文本附圖的原因很多，除了出版的競爭風氣，最重要的是「非圖不明，有圖則明」，因此在插圖本小說當中，圖像與文字應該為互相輔助的關係，將文本中的事件轉變為圖像；以達到圖文互釋，藉以輔助讀者的閱讀及小說的銷售量。 本文第一章說明本文寫作原因，與定義何為圖文互釋，以寇普-許密特(Kopp-Schmidt)參考帕諾夫斯基(Erwin Panofsky)之圖像學所整理出的「圖像學操作過程」三階段，及單篇論文內容來輔助說明圖文互釋的研究方法。第二章概述明清版畫發展，與五大派別的特色，說明插圖的不同功能，接著分別整理插圖本《三國演義》的版本情況，與《三國演義》小說的版本演進概況。藉由確立版本，說明本文選擇其中三種版本的原因。第三章、第四章，運用圖文互釋的方法，對照三種版本圖像與文本的關係，將文本一百二十回中標題的上下聯為上目、下目對照三種版本中二幅圖像，敘述對照後所發現的現象。 第五章綜合第三章、第四章的整理之結果，先以表格呈現出三種版本圖像構造的差異，再討論三種版本圖文互釋的契合現象，並將契合的差異特色分為四種不同情況，一、人物位置。二、人物細節形象。三、圖像背景。四、文本情節。說明三版本經過分析後的文本與圖像關係的情況，再以此來判斷三種版本之間圖文互釋之優劣。最後說明圖文互釋悖離的情形，某些回目圖像出現文本無法解釋的情節，可以經由資料輔助說明，加以判斷可能是畫工刻工自我意識詮釋文本內容，進而在插圖上有不同表現。第六章整合上述說法，藉由第五章整理的結論，判斷寶翰樓本為最符合插圖本小說圖文互釋的版本。 "The Romance of Three Kingdoms" mainly depicts contents of strategies and wars. There are numerous characters, who respectively represent a distinctive personality. The thesis is to study different versions of The Romance of Three Kingdoms under the same system, analyzing the illustrations and the texts, so as to further the discussion between the illustrations and the writing itself and determine the pros and cons of these diverse versions. There are a number of reasons why the novels are with illustrations. On top of the competition among the prevailing publishers at that time, the most crucial reason is that people conceived that the presence of these illustrations helps to better depict the texts. Hence, transferring the events in the novel into illustrations has become a beneficial way to help readers to read and to enhance the sales of novels. This mutually supporting relationship between illustrations and texts reaches the state of inter-translatability (or inter-transferability).
The first chapter explains the reasons for writing of the thesis and the definition of inter-transferability between texts and illustrations. With reference to Erwin Panofsky’s iconography and later Kopp-Schmidt’s three phases of iconography process, I will describe the research methods applied in the thesis. The second chapter summarizes the development of block prints in the Ming and Qing Dynasties and the feathers of the major five schools. I will explain the different functions of illustrations and then talk about versions of different illustrated The Romance of Three Kingdoms and the profiles of the versions. Furthermore, I will detail the reason why these three versions are chosen as the research subjects in the thesis. In the third and fourth chapters, I will show the relationships between texts and illustrations among the versions with the approach of inter-transferability. I’d compare the couplet headings of the one hundred and twenty stories in the novel with the two images from these versions and discuss the findings after the comparison.
Chapter VII integrates the results from Chapter III and IV. A table will be used to represent the structural differences among the three versions and then I will further discuss how these three versions of inter-transferability work, dividing them into four different categories: (1) character position (2) character profile (3) background of illustrations (4) story plot. I will analyze the relationship between texts and illustrations to determine the pros and cons of these three versions. Finally, I will talk about the situation of deviation, that is, the illustrations have diverged from the original meaning from the texts. With the aide of some complementary information, it might be due to the subjective intent from the painter. The sixth chapter sums up the above-mentioned and from the conclusion from the fifth chapter, the Pao Han Lo version is the best version for inter- translatability.