由物象到意象:从《文心雕龙》到《二十四诗品》的“神用象通”

From Object to Image—On Wen Xin Diao Long and Twenty –four Poetry Style

《文心雕龙》里对"象"的运用尚处于单个物象本身浅层的比义,是暂时而零散的,不涉及到物象的文学意蕴,且它里面的象主要通过"比"这一方式来通神,而《二十四诗品》则是将"象"完成了由"物象"到"意象"的转换,接近文学作品中的意象,有固定的文学内涵。不仅如此,《二十四诗品》还将"象"的范围扩大到由单个的象组合而成的诗歌及诗歌意境。相对于《文心雕龙》中主要以"比"义通神,《二十四诗品》里则兼以"比兴"两者来对"象"的作用加以发挥。

The use of ＂Xiang＂ in WenXinDiaoLong is single, plain and not related to the literary connotation. It conveys the meanings by the rhetorical style of ＂Bi＂. While in Twenty-four Poetry Style, ＂Xiang＂ is transformed from ＂object＂ to ＂image＂, which makes it more close to the imagery in literature and has the literary connotation. Moreover, the extent of ＂Xiang＂ is enlarged from single poetry to the artistic conception of the poem. In order to convey the meanings, ＂Bi-Xing＂ is being used to exert ＂Xiang＂ in Twenty-four Poetry Style relative to the single use of＂Bi＂ in WenXinDiaoLong.