摘要
中国文化的言象意理论中,象具有独特性。从《周易》哲学之象到美学的文学之象,言象意理论具有相互关联和各自独立的特征。美学的言象意理论从魏晋的基本形成到唐代在与佛教境的境理论的互动中,演进为境论,完成了言象意理论的美学转型,形成了言-境内之境(景-象-情-意)-境外之境(景外之景-象外之象-意外之意)的结构。
Image is unique in the theory of word-image-meaning in Chinese culture. Word, Image and meaning are interconnect and at the same time autonomous whether in Zhouyi philosophy or aesthetics. The theory of word-image-meaning in aesthetics took form in the Wei and Jin Dynasties and evolved into the theory of "visay" in the Tang Dynasty because of its interaction with the Buddhist theory of visay, thus having completed its aesthetic turn and established the structure of "the visay within word-visay"(scene-image-affection-meaning) and "the visay beyond visay"(including scenery beyond scenery, image beyond image, and meaning beyond meaning.).
作者
张法
Zhang Fa(School of Humanities at Zhejiang Normal University,Zhejiang Province 321004, China)
出处
《文艺理论研究》
CSSCI
北大核心
2018年第6期6-13,共8页
Theoretical Studies in Literature and Art
关键词
言象意
哲学之象
美学之象
境论
word-image-meaning
image in philosophy
image in aesthetics
visay
