本文主要討論遼寧本《洛神賦圖》如何以各種繪畫上的設計和表現去轉譯曹植（192-232）所作〈洛神賦〉的故事情節、文字意象、和音樂性等美學特質。文中所論述的議題有二：1.）〈洛神賦〉在文學上的美學特質是什麼? 2.）畫家如何體會賦中語言上的 特質，而將它們轉譯成圖畫表現? 

〈洛神賦〉一文是一篇抒情短賦，只有176行，辭藻華美，意象豐富，詩句長短相間，押韻變化活潑，構成了明顯的音樂性。這些詩文的特質，在遼寧本《洛神賦圖》中以十分高超的技術被轉化成為圖像，巧妙地表現在畫卷的形制、構圖、圖像造形，以及圖文關係等方面。首先，畫家採取手卷形制和連續式構圖，以表現這則簡短而哀傷的情詩。其次，畫家將整卷畫中人物的活動如戲劇一般分成五幕，且在每幕之間以山水作間隔，如此以呼應賦文中的五個情節，包括1) 邂逅； 2) 定情；3) 情變；4) 分離；和5) 悵歸。 

再其次，畫家將賦文中的韻律感轉化成圓弧狀的物象造形。這種圓弧形成為遼寧本主要的造形原則，表現在個別的人物形像、人物組群、和圖文組合等方面。在表現賦文的意義方面，畫家使用了四種表現方法：直譯法，隱喻法，暗示法，和象徵法等，以轉譯 賦文的涵義。 

此外，畫家利用各種圖像與文字互動的設計，不但成功地表現出賦文中所呈現的韻律感，而且有助於說明人物內心的情感。一段段長短不一的文字很貼切地被安排在相關的圖像旁邊。它們有如標點符號般標示了人物活動的段落，但並未阻斷整體故事的連續展現，反而藉此創造出一種韻律感，加強了構圖的連續性，並且有如旁白一般常為相鄰的人物抒發了內心的情感。這是遼寧本獨特的地方。相對的，其他存世多本《洛神賦圖》，雖然也呈現了相同（或近似）的構圖和人物造形，但有些或因省略了賦文（如北京甲本和弗利爾甲本），而使畫面所見的故事情節段落不明，也無法深刻地表現出某些人物內心情感的變化；而有些（如北京乙本和大英本）或因將賦文框限在界格中，與相關圖像距離遙遠，因此無法產生圖文之間密切的互動關係，而損傷了抒情效果。

Focusing on the relationship between words and images, this paper is an analytical reading of the Liaoning version of The Goddess of the Lo River (Luoshen fu tu), which illustrates the prose-poem by the same title by Cao Zhi (192-232). The prose-poem tells about a brief and sad love story between the poet and the Goddess, and is noted for its beautiful imagery and musical quality. The scroll, a mid-eleventh century copy of a late sixth century original, skillfully translates the aesthetic quality of the prose-poem by various pictorial devices. In a continuous composition, the scroll represents the story in five movements: “The First Encounter,” “Love Promised,” “Change of Mind,” “Separation,” and “Returning Home.” Curves are the primary aesthetic principle, which dominates forms as well as figure groupings, aiming at creating rich rhythmic visual movements for the painting. The subtle verbal implications of the prose-poem are pictorially rendered by literal, metaphorical, suggestive and symbolic representational devices. The full text of the prose-poem is copied in many sections of varied length to link, as well as to separate, figures and landscape elements in different scenes and movements. Those script in sections describe their nearby figures’ movements and their inner feeling, and thus, create an intimate relationship between words and images of the painting, a special device which characterizes the Liaoning version of The Goddess of the Lo River.

曹植; 洛神; 洛神賦; 洛神賦圖; 遼寧本洛神賦圖; 繪畫的音樂性; 繪畫與文學; 敘事畫; 故事畫; 圖像與文字; 六世紀繪畫

Cao Zhi; Luoshen; Luoshen fu; Luoshen fu tu; musicality in painting; literature and painting; words and images; narrative painting; sixthcentury painting