审美意象:结构分析的逻辑前提

Aesthetic Image:The Logical Premise of Structural Analysis

情(意)与景(象)的结构关系是中国意象美学的核心问题之一,王夫之的情景结构理论是这种分析方法的集大成式成果,朱光潜、宗白华等人的意象(境)结构理论是其现代形态。中国古代奠基于天人之学的世界构成论和时空一体观化解了时间线性发展的顺序,使之当下停顿而成为片段性、立体化的客观存在以生成审美意象,从而使后者获得空间结构属性。构成审美意象的情(意)和景(象)内涵的多样性,决定了审美意象结构的丰富性和多层次性,将奠基于语言学的结构主义与中国古代以情景关系为基础的结构分析方法相比照,可激活古代美学思想资源,为建设新时代的美学话语体系做出贡献。

The structural relationship between emotion and scene is one of the core problems of Chinese image aesthetics.Its aggregate results find expression in the structural theory of emotion and scene created by Wang Fuzhi,and its modern form is the structural image theory proposed by Zhu Guangqian,Zong Baihua,etc.The theory of cosmology focusing on the heaven and humanity and the concept of the integration of time and space in ancient China breaks the linear time sequences,making the present pause to become the fragmentary and three-dimensional objective existence in the process of producing aesthetic images,which has obtained spatially structural attributes.The diversity of connotations of emotion and scene constituting aesthetic images results in the multilevel structure of rich aesthetic images.The comparison between structuralism based on linguistics and the method of structural analysis based on the relationship of emotion and scene in ancient China could activate the resources of ancient aesthetics,and make contribution to the development of an aesthetic system in the new era.