六朝“象外”说的语境及审美指向

On the Context and Aesthetic Orientation of “Image-Outside”Theory in the Six Dynasties

"象外"的哲学渊源可以上溯到老、庄、《易传》,但是上述文献尚未提出"象外"概念。直到六朝,"象外"才进入哲学、佛学的理论视野,进而影响到文艺美学。魏晋玄学语境中的"象外"主要指"象外之意";佛学语境中的"象外"主要指"象外之谈"(象外的佛理),实际依然是"象外之意"。故而六朝玄佛均重"象外之意",而非后世司空图提出并以之知名的"象外之象"。六朝画论"象外"说的审美指向是"象外之精灵",意近于玄佛语境中的"象外之意"。直到唐代,"象外"才正式进入文论之中,这又反证六朝画论"象外"说具有首创之功。

The philosophical origin of ＂image-outside＂can be traced back to Laozi,Zhuangzi,and Yizhuan,but these literatures have not put forward the concept of ＂image-outside＂. Until the Six Dynasties,the concept of＂image-outside＂entered the theoretical domain of philosophy and Buddhism and affected the aesthetics of literature and art. In the context of Weijin Metaphysics,＂image-outside＂mainly refers to the ＂implication beyond image＂.In the context of Buddhism,＂image-outside＂mainly refers to Buddhism out of image,while the actual meaning is still the＂implication beyond image＂. Therefore,the Metaphysics and Buddhism in the Six Dynasties have great importance to ＂implication beyond image＂,which is different from ＂image out of image＂put forward by Sikongtu in the Tang Dynasty. It is not until the Tang Dynasty did the concept of ＂image-outside＂enter the literary theory.