作　者：闫月珍
关键词：人文；天象；取象；感应；比德；文学批评
摘　要：

在中国早期，天文知识与文学观念是同构关系。天文涵盖一切自然规律和人文现象，被视为一切知识的原始形态和最高类型。文学取象于天文，实质是天象经验渗透于文学观念。首先，天与地是众多天象、气象的源发地，属于天象秩序的第一层级，天地之心即圣人，圣人与人文之元相呼应；其次，天象的高级序列有日、月、星三大类，其昭晰之光用以比拟典范之作，树立文之司南；复次，风云类气象暗含驭文之术的通变观念；最后，雷、雨等众多天象用以言说特定文体或风格。总之，取象实现了天文和人文之间的可通约性。理论结构受制于词汇系统的规定，以天文语汇言说文学，形成“道—圣—文”的文明范式。在“道—圣—文”序列之中，文学取象模型有两个：一是《周易》，一是谶纬，由此形成实象类比、感应和比德三种天人联系方式。人文与天文相平行，圣人沟通两者而显象为文，故人文境界廓大而深远，并非囿于一时一地一事，这赋予人文以神圣的品格。

Quxiang, Ganying, Bi'de and Early Chinese Experience of Tianxiang An Epistemological Inquiry into Chinese Literary Criticism
Yan Yuezhen（Jinan University）
Abstract Ancient China witnessed an isomorphic relationship between astronomical knowledge and literary conceptions. Encompassing all natural laws and human civilizations, tianwen (天文 , the patterns of heaven) was regarded as the primordial form and highest category of all knowledge. Literature quxiang (取象 , took images) from tianwen, and in essence represented the permeation of tianxiang (天象 , celestial phenomena) into literary conceptions. First, tian (天, Heaven) and di (地, Earth) were the sources of numerous celestial and meteorological phenomena, constituting the primary stratum of the celestial order; and in the heartmind of tian and di lies shengren (圣人, the sage), who resonates with the origin of renwen (人文, human patterns). Moreover, the higher categories of celestial phenomena such as the sun, the moon, and stars, were used to symbolize outstanding literary works, serving as guiding lights in the world of literature. Additionally, meteorological elements like wind and clouds were seen as metaphors for the tongbian ( 通 变 , continuity and transformation) nature of writing. Finally, specific celestial events like thunder and rain were employed to characterize particular literary genres or styles. In sum, the practice of quxiang rendered tianwen and renwen commensurable with one another. This theoretical structure was itself delimited by the vocabulary system: ar_ ticulating literature through the lexicon of tianwen gave rise to the civilizational paradigm of "Dao-Sheng- Wen" (道—圣—文 , Dao-Sage-Literature). Within this triadic sequence, two models of literary image-taking were obtained: one derived from Zhouyi (《周易》, the Book of Changes), and the other from chenwei (谶纬 , apocryphal- prophetic texts). Together they yielded three modes of correspondence between Heaven and humanity—shixiang leibi (实象类比, concrete-image analogy), ganying (感应, resonance), and bi'de (比德, virtue-symbolism). Renwen stood in parallel with tianwen, and shengren, by communicating between the two, manifested it as wen (文, literature). The horizon of renwen was thus vast and profound, not confined to any single time, place, or event—and this is precisely what endowed renwen with a sacred character.
Key words renwen; tianxiang; quxiang; ganying; bi'de; literary criticism

 

■ 作者简介 闫月珍，暨南大学文学院教授，广东 广州 510632。

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