中国“写人论”的古今演变

与正在走红的叙事理论相比 ,以传统文化为底蕴的中国“写人”理论更能自成体系 ,呈现出顺应不同历史情境的主题演变。作为中国“写人论”的最初核心话语“形神”论 ,是依傍画论而成 ,通过“如画”、“传神”、“如闻其声 ,如见其人”等词语的大量使用而奠定了后人评赏写人效果的理论基础。随之 ,金圣叹推出的“性格”论 ,后经过张竹坡、毛宗岗、脂砚斋等人的丰富和发展 ,实现了中国写人论话语的独立。 2 0世纪以来 ,“典型”论在中外文化交流的大潮中登堂入室 ,一方面在本土化过程中完成了写人论话语的细化 ,另一方面又在政治权力的干预下单极化地突出了“大写的人”。新时期以来的“写人论” ,出现了无主题变奏的多元化走势 ,“多重文化身份”以及“小写的人”等观念得到大力提倡 ,表明中国“写人论”出现了前所未有的新变。在中国“写人论”逐渐演进的历史逻辑结构中 ,“以形写神”成为一道贯通古今的气脉。

The Evolution from Ancient to Present of the Chinese "Theory of Portraying Person"

Compared with the popular narration theory, the Chinese theory of portraying person, which is based on traditional culture, can form a independent system and show theme transform in different historical conditions. As the initial core concept, the theory about the relation of shape and spirit, which is based on the theory of drawing, establishes the theory foundation that successors discussing the effect of portraying person by frequently using drawing terms such as “like drawing”, “lifelike”, “so vividly described that you seem to see and hear the person” and so on. The Chinese portraying person theory becomes independent through the period of the Jin Sheng-tan′s character theory and is enriched by Zhang Zhu-po, Mao Zong-gang and Zhi Yan-zhai afterwards.The typical character theory is popular in the interchange of Chinese and foreign culture in the 20th century. This not only completes the elaboration of the word of portraying person in local process, but also sticks out “capital person” one-sidedly under intervene of political power. Portraying person theory forms pluralistic tendency having no theme in new period. The viewpoint that “multi-level cultural identity”and “minuscule person”is advocated vigorously. This shows that there occurs unprecendented change in the theory. “Portraying spirit through portraying shape”is the train links up ancient to present in the historical logic organization which Chinese portraying person theory evolutes gradually.