摘 要 劉勰提出道、聖、經及緯的創作架構，乃是呼應同一時代的經文創典，相較 於佛教的佛、法、僧與道教的道、經、師，彰顯了聖人與文人的創典地位。從後 代文論的鏡與燈之比喻可以理解，劉勰是依本土的圓道循環之理，強調「作者曰 聖」的創作地位。而其創典則在於感應、感動的心、物關係中，道􀀧聖􀀧文的文字 即為媒介的符號，可以呼應言意之辯。符號的媒介性質涉及道的顯示，文論所重 者為聖人、文人作為中介而表現為經、文；而道經則重在玄聖如何冥通，而後示 現於圖、文。佛教進入中土後則格義感應、感通以彰顯佛經的殊勝。劉氏回應佛、 道而本源於儒家的創典，從而透露心之圖像如何被表現，也就可對應於譯寫，可 證六朝時期聖人與文人的創典隱含了譯寫的觀念。

Abstract The concepts of Dao, sage, scripture and the apocrypha in Liu Xie’s vision of writing—in comparisons with the Buddha, Dharma, and Monk in Buddhism and the Dao, Scripture and Master in Daoism—attenuate the role of sages and literati in creating scriptures. They respond to the contemporary endeavors of scriptural creation. Inspired by the theoretical frame of “the mirror and the lamp,” one may suggest that Liu Xie sees the writer as the sage. Liu’s ideas rest on the assumption of communication, sympathy, and communion between writing and the mystical world. Language, as signs, reveals Dao and writers act as agents to bring the two systems together. In literary theories, the sages and literati are considered the creators of the classics and various writings. The Daoist scriptures elevate the concept of the masters’ communion with the invisible, the experiences of which are expressed in pictures and writings. Chinese Buddhism shows the magnificent powers of the sutras through the feelings of mutual sympathy. Liu’s model, which reveals how the inner feelings manifest themselves on the outside, can be compared to the working of translation. It can further be argued that the idea of translation is embedded in the attempts to create scriptures by the sages and literati of the Six Dynasties period.