了吾、興意—詩學「比興」意象視覺轉譯之修辭探索

近來，中國美學在由西方美學引領的設計領域漸露光芒，而這股東方美學被各領域借提引用。從流行樂以至時尚品牌相繼在中國傳統美學中挖掘美學形式、經典元素，不難感受到人們正迫切地想要了解中國傳統美學為何。中國詩學便是傳統美學寶庫之一。遨遊中國深厚的詩學作品裡，字裡行間所展現的意象往往是審美其中樂趣所在，如此優美且生動的言辭，即是修辭學功用所在。視覺傳達設計與修辭學有著相同的向度，而如何借提中國修辭學來詮釋視覺設計的創作過程則是待需解決之問題。本研究以中國詩學比興修辭做為對象，研究發現比興修辭有別於西方隱喻之特色在於比興修辭建立於隱喻基礎之上，但它卻可超脫隱喻的架構，轉為隱喻的轉喻化或是轉喻的隱喻化。而在轉喻階段，比興意象可藉符號的選擇與組織來進行視覺轉譯的表現，本研究藉由視覺作品案例的分析，統整出適用比興意象的視覺修辭有符號選擇階段的轉義以及符號組合階段的對稱與圖地反轉，再以此規則做為創作架構應用於海報設計創作之中。

關鍵字

天人合一；詩學比興；修辭學；視覺修辭

並列摘要

China’s esthetics that has been borrowed and cited recently emerges in the design field led by the West, which embodies the drives to know what the China’s traditional esthetics is due to the esthetic form and classical elements extracted by the pop music and fashion brands. China’s poetry servces as one of China’s traditional esthetic treasures of which the image underlies the esthetic nature. Such subtle vivid poetic lines are the fruits of rhetoric. In fact, visual design and rhetoric share the identical dimension; therefore, it is a key issue to interpret the procedures during visual design created in terms of the borrwoing from China’s rhetotic. This paper focuses on queries of China’s poetic metaphor named Bixing and the findings pinpoint how China’s Bixing transcends the West’s metaphor since the latter fails to interpret metaphor to metonymy or vice versa. During such process, symbolism narrates how Bixing interprets images to visual expression; moreover, the interpretation in the symbol-selecting phase and the symmetry and negative space in the symbol-combining phase applicable to visual rhetoric of Bixing image in terms of the visual-design cases collected under the characterirstics of Bixing applied to creation of poster design.