| 摘要: | 自先秦以迄六朝，對於思想範疇中「意」與「言」之推索與釋義相當重視，從而產生連繫，並延伸至「象」所作詮釋，構成明確有度之論述脈絡。在相同時世跨度下，文章創作雖未透顯出完備且具條理之闡述可供觀照，試著憑藉實際創作詮證其中蹊要，遂為楷則，得以說明「象」由獨立文章創作所呈現象，乃至劉勰於《文心雕龍》所作入理評議，掌握程度已臻全面，不僅能夠有效地捕捉抽象之「意」，亦可致「言」穩定妥切。
本文旨在標顯文章創作中關於「象」之運用情形。首先，筆者便由「言意之辨」以為主軸，表明思想邏輯與文章創作中「意」、「象」、「言」之沿革，細究其中差異，其後是以觀察實證如何據理鋪敘，創作過程常在，包含先秦、兩漢、魏晉及南朝結撰述作，揭櫫創作中體現「象」之多種樣貌。最終輒進入劉勰《文心雕龍》相應精宏通論，彰往察來，並嘗試以其理論內容分析「象」之實質作用，確為言行若一，俾論述精簡而能達義，探尋此一發展脈絡所及深遠影響。
綜觀而論，在文章理論逐步歸攏創作現象之同時，劉勰亦於著述內容中意識到「象」之內涵，並且多所釐正，反覆就相關問題進行深究綜述，每與作品連繫要切，故可以微知著，發明過程所蘊意旨。研究會選擇如此途徑，當是基於創作實踐與指導論述過程兩端，不致偏頗，改換體察角度以瞭解「象」之精純，冀能於前賢先見之餘，略獻芻言。
;From the pre-Qin period through the Six Dynasties, considerable attention was devoted to the investigation and interpretation of the conceptual categories of “yi” and “yan”. Through this sustained inquiry, these notions were brought into relation with one another and further extended to interpretations of “xiang”, thereby forming a coherent and well-defined discursive trajectory. Within the same historical span, although literary creation did not yet articulate a systematic and fully theorized exposition available for direct observation, writers nevertheless sought to elucidate its underlying principles through concrete acts of composition. Such practices gradually established normative models, making it possible to demonstrate that “xiang”, as manifested in independent literary works, had already attained a high degree of theoretical awareness by the time of Liu Xie’s Wenxin diaolong. In Liu Xie’s penetrating evaluations, the grasp of “xiang” proves to be comprehensive: it not only enables the effective apprehension of abstract “yi”, but also allows “yan” to achieve stability and appropriateness.
This study aims to highlight the modes of employing “xiang” in literary composition. It begins by taking the “distinction between “yan” and “yi” as its central axis, clarifying the historical development of “yi”, “xiang”, and “yan” in both intellectual discourse and literary practice, and closely examining the differences among them. It then proceeds to observe, through concrete examples, how rational principles are unfolded in actual compositional processes. Drawing upon writings from the pre-Qin, Han, Wei–Jin, and Southern Dynasties periods, the discussion reveals the multiple forms through which “xiang” is embodied in literary creation. Finally, the analysis turns to the corresponding comprehensive and incisive discussions in Liu Xie’s Wenxin diaolong, reviewing past insights in light of later developments and employing his theoretical framework to examine the substantive function of “xiang”. In doing so, the study demonstrates the unity of theory and practice, achieving concision without sacrificing meaning, and traces the far-reaching implications of this line of development.
In summary, as literary theory gradually integrated and systematized creative phenomena, Liu Xie became acutely aware of the internal dimensions of “xiang” within his writings and undertook extensive clarification and revision of the concept. He repeatedly explored and synthesized related issues, consistently linking them closely with literary works themselves. Through this approach, subtle indications can be discerned from explicit formulations, allowing the underlying significance of the theoretical process to emerge. The present study adopts this path in order to balance creative practice and theoretical guidance, avoiding partiality while shifting perspectives to apprehend the refined essence of “xiang”. It is hoped that, building upon the insights of earlier thinkers, this study may offer a modest contribution to the ongoing discussion. |
