中国审美意象论的发生学进路及其现象学诠释

The Genesis Approach and Phenomenological Interpretation of Chinese Poetic Imagery Theory

中国审美意象论也是感性学的体验论,其发生学路径是源于解决"言-意"关系问题的论争,即儒家释"意"为"志"的基于"言-志"的对称结构关系和道家释"意"为"道"或近"道"的基于"言-道"的非对称结构关系的分歧,因应这个分歧,先秦学者引入"象"论;这个"象"论又经历了从"实象/物象"到"易象/拟象"再到"意象"的演变;在"意象"概念形成后,中国艺术遂得以克服主客裂变而实现了带有意向性特征的客体形式在主体意识活动中的图像化表达,打破了能指/所指的二元对称结构,发展了其注重"意向性"的优长。中国诗歌的意象创造是一种具有世界意义的象思维,是象、意、言三者粘合而生成有意味的形式和图型范式,是在假象/取象中建构某种超越过去、现在和未来的三维时间和空间交织的边缘域。

Chinese poetic imagery theory is genesis is to solve the problem of the relationship vergency between the Confucian ＂meaning＂ into structure relations and the Taoism＇ s explaining＂ a theory about sensible experiences, and learning between ＂words- meaning＂, that is, there is a di- ＂ambition＂ based on ＂ words-meaning＂ symmetric meaning＂ of ＂Tao＂ or ＂Dao＂ based on ＂wordsmeaning＂ asymmetric structure relations. In order to solve the problem, the pre-qin scholars introduced a ＂象＂ theory. From then on, the ＂象＂ theory evolved from the ＂visible phenomena 实象/物象＂ to＂diagrammatic iconicity 易象/似象＂ at last, there came the concept of ＂hermeneutic images 意象＂, which highlighted an intentional meaning of visualizing objets in subjects＇ consciousness so that the ＂signifer-signified＂ binary symmetric structure broke and finally overcame the subject-object dichotomy in Chinese art.