班克斯（Banksy）作为当今最具争议和盛行的匿名街头涂鸦艺术家，以世界各地公共空间内的涂鸦作品而知名。为避免被警察以毁坏公物之名逮捕，他以快速的模版喷漆方式创作，亦常将街道标志和建筑元素等外在环境包含在其涂鸦作品之中，将环境中的质感与场域的特点融合在其充满黑色幽默、讽刺和政治评论的叙事涂鸦中来回应当下，通过网络传播成为后现代艺术语境下具备大众性的视觉文化经典。 本文以班克斯的模版涂鸦作为个案研究，探讨其通过模版涂鸦实现的“叙事在场”，即其回应当下的叙事图像的营造以及其涂鸦与街头环境，空间并存的关系。结合其通过网络盛行于艺术界的传播方式，联系当下插画传播的载体，将这种“在场”引申为作品通过网络的二次传播后实现的一种平面化的，被压缩的视觉世界与人之间的关系，人人借由手机或电脑等网络通讯工具体验的在场感。也正是这种平面化的，被压缩的视觉世界使得插画这一崭新的门类得以在当下视觉世界中广为流行。 在文中将分为三个部分进行论述。第一章首先通过解释“班克斯效应”以及模版涂鸦的由来及其视觉语言为下文深入解读班克斯的作品做铺垫。第二章结合班克斯的模版涂鸦作品来解读其模版涂鸦中的“叙事在场”，此章将分为两部分具体阐述，其一，具体分析其模版涂鸦中的叙事内容；其二，结合其涂鸦作品来展开讨论其涂鸦与街头环境、空间以及观者之间的关系，即其实现的“在场”。第三章则讨论班克斯模版涂鸦作品实现的“叙事在场”对于当代插画的启示以及对笔者自身插画创作实践的启发。班克斯的模版涂鸦作品借由街头实现观者，环境，空间，涂鸦作品之间的在场关系，而真正让班克斯的涂鸦作品得以广泛传播以及成名的场域并非单纯的街头，而是网络，正是网络的二次传播才使得班克斯的模版涂鸦作品得以被大众熟知，而这点与当下插画的传播载体是一致的。本文正是通过研究这些来探索当代插画创作的更多可能性。

Banksy, one of the most controversial and popular anonymous street graffiti artists today, is known for his graffiti works in public Spaces around the world. In order to avoid to damage the public property in the name of the arrest by the police, he wrote in a quick way of template spray paint, also often used the street signs and architectural elements such as the external environment contains in its graffiti works, the characteristics of the environment of the texture and field fusion in its full of black humor, satire and political comments back and forth in the narrative of graffiti should be, Through network communication, it has become a popular visual culture classic in the context of post-modern art. This paper takes Banksy's stencils as a case study to explore the "narrative presence" that banksy realizes through stencils, that is, the creation of narrative images that respond to the current situation and the coexistence of graffiti with street environment and space. Combined with its prevalence in the world of art through the network mode of transmission, contact the illustration for the spread of the carrier, the "present" extended to work through the network of secondary spread after the implementation of a kind of complanation, compressed the relationship between the visual world and the people, everyone by phone or computer network communication tools such as experience the sense of presence. It is this kind of flattened and compressed visual world that makes illustration, a brand new category, widely popular in the current visual world. This paper will be divided into three parts to discuss. The first chapter explains the "Banksy effect" and the origin and visual language of stencil graffiti, which lays a foundation for the in-depth interpretation of Banksy's works. The second chapter combines banksy's template graffiti works to interpret the "narrative presence" in his template graffiti. This chapter will be divided into two parts. First, the specific analysis of the narrative content in the template graffiti; Secondly, the relationship between graffiti and street environment, space and audience is discussed based on its graffiti works, that is, the "presence" it realizes. The third chapter discusses the inspiration of the "narrative presence" of Banksy's template graffiti works to contemporary illustration and the inspiration of the author's own illustration creation practice. Banksy's template graffiti street implementation by the viewer, environment, space, the present relationship between graffiti, and truly let Banks graffiti was widely spread and become famous in the field is not a simple street, but the network, is the network of secondary transmission makes Banks template graffiti has been familiar, And this is consistent with the current communication carrier of illustration. This paper is to explore more possibilities of contemporary illustration creation by studying these.