意象、意境的“退思”及“视域融合”——“境象说”刍议

The "Retrospection" of Artistic Conception,Imagery and the "Fusion of Horizons"——on the "Literary Image"

在"意象"、"意境"的研究中,众多的研究者对作者、读者的主体之"意"与文本的客观之"意"过分强调,出现了"意"高于"象"与"境"的现状。为解决此种阐释的困境,有必要退回到"象"与"境"未分化之前的境遇中去,即退回到"道"之境、"道"之"象"的传统中,去重新"思想"意象与意境的生成及其关系。"境象",即道境之象,自王昌龄提出来后,不被人重视,或遭曲解。在"境象"中,境中生象,象中见境,境象一体。在人工之"镜"、"象"、"像"泛滥的今天,重提"境象",对于意象、意境理论的融合及当下的艺术创作都具有重要的理论与现实意义。

In the study of Imagery and Artistic Conception, many researchers overemphasize the intention which focuses on the importance of authors and readers and the meaning of the objective text, thus causing the situation where intention and meaning are higher than Image and Artistic Conception. In order to solve this dilemma, it is necessary to return to the situation where Image and Artistic Conception are not divided, that is to say, we should return to the tradition where Artistic Conception of＂Tao＂ and Image of＂Tao＂ are advocated to rethink the formation and the relationship between Image and Ar- tistic Conception. ＂Literary Image＂ means we can see the Image in the state of＂ Tao ＂, but it had not been stressed and had been misunderstood since Wang Changling put forward it. Image is resulted from Artistic Conception and we can see Artistic Conception in the Image, therefore, they are combined. Mirror, Image and Picture are flooding nowadays. We can propose＂ Literary Image＂ again, which has important theoretical and practical significance to integrate the theory of Image and Artistic Conception and do artistic creation.