菏泽学院学报

从题材史与传播史角度来看，《水浒传》与图像密切相关。龚圣予之“画赞”、臧晋叔《元曲选》等作为《水浒传》图像叙事前史，令水浒人物造型日渐清晰。小说文本中的图像作为《水浒传》图像叙事正史，展现人物性格、主题情节的可视化，推动小说的传播。水浒续书、英雄传奇小说、侠义小说等文本中的图像作为《水浒传》图像叙事后史，体现文学与图像的世代衍化。小说在国际传播过程中的插图作为《水浒传》图像叙事外史，帮助国外读者更为直观地了解中国文化。在充分展现《水浒传》图像前、正、后、外四史的基础上，以陶瓷、纸牌、水浒拳等为载体的非文学形式图像作为《水浒传》图像叙事广史，呈现出朝着多元共构、立体建模的叙事方向研究的倾向。《水浒传》图像叙事史研究既具可能性，又具可为性，要求新时代文化工作者立足水浒文化本位、聚焦图像诉求，在文明互鉴的语境中讲好水浒故事。

From the perspective of subject matter history and dissemination history, images were closely related to The Water Margin. Gong Shengyu's Commentary on Painting and Zang Jinshu's Selected Yuan Qu could be considered as the narrative pre-history of the images of The Water Margin, which gradually made the characters' shapes clearer. The images in The Water Margin were official narratiion histories that showcased the visualization of character personalities and thematic plots, promoting the dissemination of the novel. The images in Water Margin continuation, heroic legend novels, and chivalrous novels were the narration post-history of visual storytelling, reflecting the generational evolution of literature and images. The illustrations of the novel in the process of international dissemination were the visual narrative of the external history of The Water Margin, which helped foreign readers to have a more intuitive understanding of Chinese culture. On the basis of fully displaying the four histories, non-literary forms such as ceramics, playing cards, and Water Margin Fist have become the general narrative history of The Water Margin images, showing a tendency towards a narrative direction of multiple co-construction and three-dimensional modeling. The study of the image narrative history of The Water Margin is both possible and feasible. Therefore, cultural workers in the new era should base themselves on the cultural essence of Water Margin, focus on visual appeals, and tell the story of Water Margin well in the context of cultural exchange.