從語境還原到語義認知－論《文心雕龍‧風骨》的解讀

學界就劉勰的《文心雕龍》中「風骨」的意義闡釋始終眾說紛紜。結合其用字的來源(即古代相術與人物品鑒)，以及該來源在其他領域的衍生(即書畫理論)的考量，本文以為：在將品人、品畫和品文統一視為審美行為的前提下，作為審美客體，相較存在於三維空間的人物和呈現在二維平面中的書畫而言，文字藝術(儘管在時間維度上有可延展的優越性)在視覺感官的維度上是線性的。而劉勰創造了一個跨門類借用的術語－「風骨」。在認知語義學上，這種跨越叫做「隱喻」。「風骨」一詞的解讀困境正在於其形象性是以明確性為代價的：其受喻者需要結合視覺經驗和想象力去彌補視覺上單維度的缺失。從作為符號的角度看劉勰的「風骨」，隱喻性的字眼只是形式，而意涵的賦予，正是其〈風骨〉篇。順著「人體隱喻」進行語境回溯只能從字源上解釋形式和意義之間那部分關聯。而回歸文本，本文發現，劉勰恰恰因為已考慮到了「風骨」作為人體隱喻的難以理解，為了顧及主體間性，故而使用另一更為確切的譬喻完成了解釋－「其為文用，譬征鳥之使翼也」。而鳥類系統的譬喻恰恰揭示了「風骨」意涵中的核心－力。

關鍵字

劉勰；風骨；語境還原；認知語義學

並列摘要

When it comes to the multiple dimensions of meanings refer to the concept of Fenggu, opinions of intellectuals among literature studies varied to a large fields (i.e. considering the estimation of someone's character and the connoisseurship of painting and calligraphy theories), the essay will argue that: With the precondition of regarding the action of moral quality, appreciation of paintings and articles that unified into the same aesthetic action, as the aesthetic object, with the comparison between the characters existed within the painting and calligraphy of three-dimensional and two-dimensional, arts of words (despite its priority over the tracebility within the dimension of time) represents with linear surface on visual sensation level. However, Liuxie created one terminology that across different categories -Fenggu, with the realm in cognitive semasiology, this kind of spans named Metaphor. The dilemma for analyzing the word is at the expense of sacrificing its imagery, however, for the receptive one, there needs the combination for visual experience and imagination to complement the one-dimensional deficiency in terms of optical aspect. To understand Fenggu within the perspective of being as a symbol, as one kind of form, the word saturated in the metaphorical level it is, the self-contained meaning to it, however, is the passage refers to Fenggu. To look back to the original context, this essay reckons that Liuxie has already taken into account on relating to the obscurity over the concept of Fenggu, so that he completed one action refers to intersubjectivity, and deployed a series of profound similes to interpret-＂With the practice into writing, indicates the wings of expeditionary birds＂. Thus, the similes concerning with birds implies the most pivotal indication of the interpretation of Fenggu - the dimension of force.