“象外圜中”:诗画虚实的互通—-兼及“诗中有画”论再反思

"Beyond the Form,Take the Hub":Interconnected Virtuality and Reality in Poems and Paintings——Concurrent Study on Argument of"Painting in the Poem"and Reflections

“象外圜中”本自《二十四诗品》,王夫之引而申之,以此作为诗中“景象”的美感要求:“圜中”即诗中所绘之“景象”,“象外”即诗中未言之“情感”,诗歌应由“圜中”而至“象外”。为论证这一观点,王夫之引入了画论中“咫尺有万里之势”的说法,意在借上乘画作中“以实见虚”“以少见多”“以有限表现无限”的“生势”过程,来阐明诗歌中“无字处皆其意”的“势”之生成过程。画论与诗论,在“超以象外”的层面上达到一种美学的契合。这实际是对“象外圍中”说的“诗画合一”式阐释。王夫之对“象外圜中”说的阐说,开启了内视觉的维度,这对厘清古典诗论中“诗中有画”的内涵,乃至重新认识其现代意义,都有重要作用。

"Beyond the Form,Take the Hub"comes from the Twenty Four Styles of Poetry,expounded by Wang Fuzhi as the aesthetic requirement for"scenery"in the poem:"Huanzhong"(Take the Hub)refers to the scenery described in the poem and"Xiangwai"(Beyond the Form)"is the feelings and emotions unsaid in the poem,meaning that the poet should go beyond the form and take the hub.To demonstrate this point of view,Wang Fuzhi introduced the saying of"Power of Landscape within Inches"in the painting theory,intending to demonstrate the development process of"power",namely,"what unsaid has its own meaning",by"seeing virtuality from reality"and"manifesting infinite with finite"in classy painting.Painting theory and poetry theory reach to an aesthetic agreement on the level of"Beyond the Form".This is an interpretation of"Beyond the Form,Take the Hub"in the form of"Painting in the Poem".Wang Fuzhi's interpretation of the theory of"Beyond the Form,Take the Hub"opened up the dimension of intermal vision,which plays an important role in clarifying the connotation of"Painting in the Poem"in classical poem theory and even recognizing its modern significance.