“意象”的美学历程发微

The Elucidation of the Aesthetic Course of“Image”

"意象"是中国美学、艺术学领域中的重要范畴。其萌芽于中国原始思维中的"感物—象数"传统,"数"与"德"构成了"象"所承载的原型意义;魏晋至唐代是哲学意象论向审美意象论滑移的过渡时期,"境象不一"由艺术领域的泛化所指,向文学领域的确定所指靠拢;文学意象论完成于明清,意象在文学批评和理论言说中被普遍使用,对其主客统一、情景交融的认知已经全面渗入日常话语体系。与此同时,明中叶以后叙事文学中"形象"的凸显,以及西方话语的冲击,导致五四以后学界一度以西方视角审视意象。辩证地看,也为这一范畴的现代化提供了契机。

"Image"is an important category in the field of Chinese aesthetics and art,which germinates"object-sensation and image-numerology"tradition in the Chinese primitive thinking."Number"and"virtue"constitute the archetypal meaning of"image".From Wei,Jin,to Tang dynasty,it was a transitional period from philosophical image theory to aesthetic image theory."Uncoordinated artistic conception and image"were signified from the generalization of the art field to the determination of the literature field.The theoretical system of literary imagery was finally constructed in Ming and Qing dynasties.Image was widely used in literary criticism and theoretical discourse,and permeated into the daily discourse system as a kind of cognition of the unity of subject and object,the blending of scenery and sentiment.At the same time,the prominence of"image"in narrative literature after the middle period of the Ming dynasty and the impact of western discourse led the academic circles to examine images from a western perspective for a long time after the May Fourth Movement,which also provided an opportunity for the modernization of this category dialectically.