论“图像”对《文心雕龙》的理论建构意义

On Image’s Theoretical Construction Significance to LIU Xie’s Literary Mind and Carving of Dragons

中国古代文论中的“象喻式”批评方式与西方“图像学”中的“形象”理念在内在上是相通的。西方图像学理论由“象”探索人与世界之间的关系,并确证“形象”之于人类存在的本体意义。我国古人的“取象”认知方式直接将“图像”深之于理性思想的建构中,形成了“形象化”的批评文体风格。这一影响在《文心雕龙》中表现得尤为显著,表现在:理性与诗意性交织;比喻、类比等成为典型的说理方式;色彩批评成为中国古代文论的一大特色。

The“imageanalogy”criticism in Chinese Classics literary theory is interrelated with the“image”idea in western“iconography”.The original meaning of“image”is“similitude”,which is one of the main ways for people to know the world.Iconology is inspired by“similitude”to explore the relationship between human and the world,and to confirm the ontological significance of“image”to human existence.As one of the basic cognitive modes of Chinese ancient literati,“observing objects and taking images”,directly put“image”into the construction of rational thought,and formed the“visualization”style of Chinese ancient philosophical thought and literary theory creation.This influence is particularly evident in Wen Yin Diao Long,which are reflected in the following aspects:the theory text is full of strong poetic pictorial meaning;A large number of metaphors,parables,metaphors,metonymy,analogy become a typical rational speaking;“Color criticism”has become a major feature of Chinese Classics literary criticism.