【摘要】 作为《野草》之首的《秋夜》,在读者的欣赏进程和意义阐释上具有优先地位，它也引起了特殊读者群体——美术家群体的关注。通过转译，美术家们将各自对文本的感受和理解倾注到《秋夜》插图中。围绕作为第一视觉形象的枣树，美术家的转译可以分为三类：以刘岘、荒烟、汪稼华为代表的整体性构图；以赵延年、裘沙为代表的简化性构图；以王琦、吴永良为代表的援引性构图。这三种类型建构起《秋夜》美术转译的整体图式，落实了有关《秋夜》的视觉想象。在《秋夜》乃至文学作品的美术转译研究中，有两个问题需格外注意：插图本身的媒介问题和插图的具体使用问题。更多还原

【Abstract】 As the first work of Wild Grass,Autumn Night has a priority position in readers′ appreciation process and meaning interpretation.It also attracts the attention of a special readership, namely the artist community.Through translation, artists pour their own feelings and understanding of the text into the illustrations of Autumn Night.Regarding the jujube tree as the first visual image, artists′ translations can be divided into three categories: the overall composition represented by Liu Xian, Huang Yan, and Wang Jiahua; the simplified composition represented by Zhao Yannian and Qiu Sha; the referential composition represented by Wang Qi and Wu Yongliang.The three types construct the overall pattern of artistic translation of Autumn Night and implement visual imagination about Autumn Night.In the study of artistic translation of Autumn Night and even literary works, two issues need special attention: first, the media issue of the illustrations themselves, and second, the specific use of illustrations.更多还原