写作的本质是一种表现,表现的核心在于“意”。“意”是什么?“意”是思想,是情感,是情绪,是人格,是灵魂……“意”根植于客观事物附丽于语言文字形诸于作文法则,文章乃是以“意”为统帅的由“物、意、辞、法”有机合成的四位一体结构。在这一四维结构中,唯“意”最活,无迹无形,若即若离,亦思亦悟,处在形而上的位置,可源于物化于物,附于言超于言,成于法逸于法。这就是“意”的三重超越。正因了这三重超越,文章才能唯意而出,万变不穷。 一、意能称物与意能化物 在物与意的生成转换过程中,意起主导作用,因此文章才有意不及物。意能称物、意能化物的高下优劣之分。意不及物,自然是文章之末品,不足论之。意能称物,要求的是对物的如实的描摹,从而达到意与物的相近,相合,贵在一个“真”字,所谓“忠于生活”是也;意能化物,要求的是对物的积极的升华,从而实现意与物的融合、化一,贵在一个“美”字。所谓“高于生活”是也。鉴此,才有了写文作画的“写实”与“写意”,“形似与神似”、“物象”与“意象”等概念的界分,才有了中国古典美学重神似、重意象、重心理时空等等在世界文坛上独树一帜的审美特征。虽然,形神兼备是一切文学共同的审美追求,但写实重在形,更讲究形态的逼真,其要在于“称”物;写意重在神, The essence of writing is a manifestation of the core of performance is “meaning.” “Meaning” is “thought” is thought, emotion, emotion, personality, soul ... “meaning” is rooted in the objective things attached to the language written in the form of writing rules, the article is “meaning” is Commander of the “things, Italy, rhetoric,” organic synthesis of the four in one structure. In this four-dimensional structure, the only “intention” is the most vivid, invisible and invisible, and also enlightenment, in the metaphysical position, can be derived from materialized things, In the law. This is the triple meaning of “meaning”. It is precisely because of this triple transcendence, the article can only be intended, unchangeable. First, the Italian can claim that the material and the Italian material in the conversion process of the formation of the object and meaning, intended to play a leading role, so the article intentionally discordant. Meaning can be said that the material can be sub-superior or inferior. Inconvenience, nature is the article of the end product, lack of theory. What can be called, what is demanded is the true tracing of things, so as to achieve the similarities and dissimilarities between objects and objects, so that they are in a “true” character. The so-called “true to life” is also; The positive sublimation, in order to achieve the fusion of meaning and things, one, expensive in a “beauty”. The so-called “above life” is also. As a result, there is a distinction between the concepts of “realistic” and “freehand” in writing and painting, “similarities and dissimilarities”, “objects” and “images” Psychological space and so on in the world literary unique aesthetic characteristics. Although both form and spirit are the common aesthetic pursuit of all literature, the emphasis on realistic writing is more emphasis on the realistic form of the form,