“音象”论

On Yinxiang

“音象”在以文学和音乐为代表的时间型艺术中普遍存在,并在形象建构和意义生成过程中具有本体价值。“音象”往往借助图像、语象以及纯粹想象的方式进行创构,相应产生了“图像-音象”“语象-音象”“想象-音象”三种范型。“音象”与西方文艺理论中的“音景”存在交叉关系,后者不仅夯实了听、视在文化层面的联觉关系,也佐证了“音象”必然存在的社会属性和族性差异。“音象”创构的基础在于音象思维的参与,其与生命节奏相契合。从音象思维的角度审视艺术思维,不仅有利于打破中西二元对立的思维定式,也有助于人文研究与科学研究的深度弥合。“音象”应该成为文学研究尤其是“意象”研究新的生长点。

“Yinxiang”(literally sound-image) is ubiquitous in time-based art represented by literature and music,and has ontological value in the process of image construction and meaning generation.Yinxiang is often constructed by means of images,linguistic images,and pure imagination,and correspondingly generating three paradigms:“image-sound image,”“linguistic image-sound image,” and “imagination-sound image.”Yinxiang has an intersecting relationship with the “soundscape” in Western literature and art theory.The latter not only consolidates the synesthesia audio&visual relationship at the cultural level,but also proves yinxiang’s inevitable social attribute and ethnic difference.