历代赋论中的图像意识

The Image Consciousness in Literary Criticism of Fu in Ancient China

在中国古代文体批评中,赋论的图像意识最为突出,这从刘勰《诠赋》的"写物图貌"到朱光潜《诗论》"近于图画"的评说,乃一以贯之。这种批评传统的赋像呈现,内涵着由语图互文视阈而来的"拟画"思维,其理论基础在"拟诸形容"的赋语特色与重"物"拟"象"的审美形态。作为文图关系的个案研究,赋写图画的呈像思考与以图论赋的赋像批评,既有助于对辞赋与图像的认知与理解,也能为中国文论研究提供一个新的视角。

Image consciousness in literary criticism in ancient China is most prominent in the criticism of Fu(Rhapsody),which can be seen from Liu Xie’s"describing objects as they appear"in"Interpreting the Genre Rhapsody"(501-2 A.D.)to Zhu Guangqian’s comment that"Rhapsody is akin to pictures"in On Poetry(1943).The imagist representation in the criticism tradition involves a way of"picturely"thinking developed from the fusion of verbal and pictorial horizons,with theoretical basis in rhapsody’s linguistic characteristic of graphic description and the aesthetic configuration on objects and images.The image-representing way of thinking and the graphic criticism of commenting rhapsody through images in rhapsody study may be taken to as a case study of the relationship between text and image,and this study may not only deepen the understanding of rhapsody and images,but also provide a new perspective for the study of Chinese literary theory.