象可以观——从“易象”到“六艺”之“象”

Image Can be Viewed:Focusing on the Image from I Ching to Liu Yi

“象”具有“可见性”,“象可以观”是“象”发生作用的基本前提,也是“象”实现其表意功能的根本保障。在先秦典籍文本中,不仅《易》中有“象”,《诗》《书》《易》《礼》《乐》《春秋》“六艺”均包含“象”。走出《周易》之“象”,在更为广泛的领域产生思想和理论影响。通过“六艺”文本解读,解析“象”的各种存在形态,可以认识到“象”内涵的丰富性和复杂性。由此进一步探求“象”与文本的联系,揭示“象”丰富复杂的审美内涵和文本内涵,可以为中国古代文艺思想的民族特征提供实证依据和理论支持,理清中国古代学术思想发生发展的基本脉络和理论线索。

Image has its visibility,“Image can be viewed”is not only the basic premise of how“image”functions,but also the fundamental guarantee of how“image”achieves its ideographic function.In the pre-Qin classics,“image”not only contained in I Ching(The Book of Changes),but in all of“Liu Yi”(“Six Classics”):Shi Jing(The Book of Songs),Shang Shu(Book of History),I Ching,Li Ji(The Book of Rites),Yue Jing(The Book of Music)and Chun Qiu(The Spring and Autumn,Annals).The“image”beyond I Ching made ideological and theoretical influence on wider fields.Analyzing the various forms of image through the text interpretation of“Liu YI”,we can realize the richness and complexity of the connotation of“image”.By further exploring the connection between“image”and text,revealing the rich and complex aesthetic connotation and text connotation of“image”,we can provide empirical basis and theoretical support for the national characteristics of ancient Chinese literary and artistic thought,also clarify the basic thread and theoretical clue of the occurrence and development of ancient Chinese academic thought.