在中國古代文體批評中,賦論的圖像意識最為突出,這從劉勰《詮賦》的"寫物圖貌"到朱光潛《詩論》"近于圖畫"的評說,乃一以貫之。這種批評傳統的賦像呈現,內涵著由語圖互文視閾而來的"擬畫"思維,其理論基礎在"擬諸形容"的賦語特色與重"物"擬"象"的審美形態。作為文圖關系的個案研究,賦寫圖畫的呈像思考與以圖論賦的賦像批評,既有助于對辭賦與圖像的認知與理解,也能為中國文論研究提供一個新的視角。

Image consciousness in literary criticism in ancient China is most prominent in the criticism of Fu(Rhapsody), which can be seen from Liu Xie’s "describing objects as they appear" in "Interpreting the Genre Rhapsody"(501-2 A.D.) to Zhu Guangqian’s comment that "Rhapsody is akin to pictures" in On Poetry(1943). The imagist representation in the criticism tradition involves a way of "picturely" thinking developed from the fusion of verbal and pictorial horizons, with theoretical basis in rhapsody’s linguistic characteristic of graphic description and the aesthetic configuration on objects and images. The image-representing way of thinking and the graphic criticism of commenting rhapsody through images in rhapsody study may be taken to as a case study of the relationship between text and image, and this study may not only deepen the understanding of rhapsody and images, but also provide a new perspective for the study of Chinese literary theory.