论“兴象”

On "Xing Xiang

“兴象”是由殷王番 在《河岳英灵集》中首次提出的一个重要诗学范畴。它与贾公 彦《周礼注疏》所谓“兴象”既有联系又有区别。贾公彦所谓“兴象”是就明器的制作方法 而言的，而殷王番所谓“兴象”则是就诗的性质特征 而言的，乃是指具有审美感兴特征而意余 言外的艺术形象。《河岳英灵集》所收盛唐诗作提供的艺术形象大多兼具审美感兴特征和意 余言外的特色，“兴象”这一范畴可以说是对这一显著特色的理论概括，它较之“意象”更 为强调了艺术形象中所包含的“意”的审美特性。殷王番之后，“兴象”说不断得到丰富和发 展。不少文学理论批评家多既言“兴象”又言“意象”，而往往是在比“意象”更高的审美 层次上来言“兴象”的。可见“兴象”是对“意象”的超越，或者说“兴象”说是“意象” 论发展的一个新阶段。

“Xing Xiang” is an important category first put forth by Yin Fan in his work He Yue Ying Ling Ji. “Xing Xiang” in Yin's discussion is both related to and different from the term by the same name put forth by Jia Gongyan in his Zhou Li Zhu Shu .The “Xing Xiang” by Jia Gongyan refers to the technical way in which the burial articles are made, while Yin Fan's “Xing Xiang” refers to the artistic features of poems and the artistic images beyond verbal expression with aesthetic inspirational characteristics.Most artistic images given by poems of the flourishing Tang Dynasty, which are collected in He Yue Ying Ling Ji, possess the features of aesthetic inspiration and the features beyond verbal expression . This category “Xing Xiang” is, as it were ,a theoretical generalization of the seprominent features. It emphasizes more the “Yi” of the artistic images . Ever since Yin Fan , this category has been enriched and developed. Many critics use both “Xing Xiang” and “Yi Xiang”, but they use the former at a higher aesthetic level. We can therefore understand “Xing Xiang” as a new stage of development of the category of “Yi Xiang”