【摘要】 文学与美术同为载道的工具,在跨媒介叙事的出位之思语境中,图像因"出位"而承担了原文字文本意义的二次转化。当文本的道、意、神为图像显现时,美术的言说便指向文学文本。以"格义"法探索中国图像阐释的方法,沿着西方经典图像学者潘诺夫斯基、贡布里希等人的思路,中国图像阐释只有回归本土语境,从传统"图式"画谱和中国传统宇宙观中才能寻找到正确的阐释路径。而传统美学范畴"比德"说与"畅神"说,恰恰是将西方图像学接引至本土,从传统宇宙观中寻找中国图像艺术解读的有效方式。明清小说戏曲的像赞、图题与楹联等,与评点一样承担着批评的功能。图像跨媒介批评的逻辑前提是文字优先,图像是在文本限制下的再言说。仔细研读插图之于文本再现,在深谙文本与图像寓意的基础上,才能解开文学插图之于作品的价值评判。更多还原

【Abstract】 Image carries the meaning of the original text in the context of cross-media narrative. Borrowing the views of Panofsky and Gombrich,we can interpret Chinese images by means of Ge Yi,i. e.,analogical interpretation. If we return to the local context,we can find the reasonable interpretations of images in the traditional "schema"painting spectrum and Chinese traditional cosmology. A case in point is the traditional aesthetic category of Bi De( the comparison of natural beauty to human virtues) and Chang Shen( full expression of one’s aesthetic values). Word comes before image in cross-media criticism. An analysis of the relationship between text and image helps us find the value of illustrations in literary works.更多还原