物象向意象轉化的美學原則

The Aesthetic Principles of Transformation from Scenery to Imagery

周建渝(Zhou Jianyu)

《中國文學學報》 1期 (2010/12) Pp. 49-59

https://doi.org/10.6903/JCL.201012_(1).0004

摘要

本文旨在討論，中國傳統抒情詩中的意象與客觀世界中的物象到底是何關係，從物象到意象，其審美轉換過程究竟怎樣運作，其運作過程中蘊含怎樣的美學原則。本文認為，至少有三種原則蘊含於這樣的意象化過程中：一、選擇的原則。對於物象的選擇，取決於詩人心境及其文學修養。抒情自我之心境如何，決定其感物生情與窮情寫物的性質為何。物象之取捨，取決於抒情主體及其抒情性質的需要。二、結構的原則。物象只有轉化為詩中的意象，並在作品中與其他要素構成特定關係時，才具有文學價值與意義。物象一旦被置入作品，便不再等同於外在物象，而被納入作品特定的時空結構。三、性質變化的原則。由於物象被「內化」為意象，並被「移植」入作品中意象群之結構關係中，原有物象的客觀性質，已退居次要位置。所有意象的特質皆因作者心境的需要而相應變化，被賦予特定的象徵性涵義。

關鍵字

物象 ； 意象 ； 意象化 ； 抒情詩 ； 詩論

並列摘要

This paper discusses the relationship between the scenery of the objective world and the imagery of lyric poetry. How does scenery transform into imagery, and what aesthetic principles does this transformation imply? I examine three principles that may be implied by the process of this transformation. 1. Principle of selection. The selection of scenery is based on the poet's mood state and his/her literary accomplishments. A poet's mood determines which elements of scenery feature into his/her imagization, and how these elements are then utilized and transformed in his/her poem. 2. Principle of structure. Scenery is not literarily meaningful if it is not transformed into imagery in combination with other key factors. As long as scenery is transplanted into a poem, it is no longer scenery as it has been brought into the particular space-time structure of the work. 3. Principle of changing characteristics. As scenery is internalized as imagery and transplanted into the structure group of imagery, its original and objective characteristics become less important. All characteristics of imagery change and are specially designated symbolic meaning according to the poet's mood state.

並列關鍵字

scenery ； imagery ； ＂imagization＂ ； lyric poetry ； poetics