“象罔”:从思维范式到美学范畴

“Xiang Wang”:From Thinking Paradigm to Aesthetic Category

“象罔”浓缩了传统文化“象”思维智慧,代表着道家对真理本质的认知,蕴含着丰富的美学阐释空间。“象”喻有,“罔”喻无,可释为“象而罔”,即以象达道,庄子对“象”的形象概括引发了“象—言—意”命题的哲学思考,并经魏晋玄学而生发为“意象论”的理路依据,促进了兴象、气象、情景等范畴的生成;“象罔”非象非罔,亦象亦罔,这种经验又超验的状态亦成为艺术追求的目标;“象罔”亦作“罔(无)象”,“罔”对“象”否定又超越,面对“象”的有限,老庄重质轻文,开启后世冲淡素朴的美学追求;“象罔”与知(虑)、离朱(觉)、喫诟(言)相反相成,象征主体得道之心性,成为“以佛解庄”“以禅释庄”的契机,更与超功利之审美心境相通。

“Xiang Wang”embodies the wisdom of“image”thinking in traditional culture,representing the Taoist understanding of the essence of truth,which contains rich aesthetic interpretation space.“Xiang”refers to the being of image,and“Wang”nothing,which can be interpreted as“image but not clear”,that is to say,the image generalization by Chuang Tzu triggers the philosophical thinking of the proposition of“image—speech—meaning“,which was developed as the logical basis of“image theory”through the metaphysics of the Wei and Jin Dynasties,and promoted the generation of the categories of“Xingxiang”,“Qixiang”,and scene.In fact,“Xiang Wang”is neither“Xiang”nor“Wang”,at the same time“Xiang”and“Wang”.This state of experience and transcendence has also become the goal of art.“Xiang Wang”is also interpreted as“no image”in which“Wang”negates and transcends“Xiang”.Facing the limitation of“Xiang”,Lao Tzu and Chuang Tzu value contents instead of forms,initiating the aesthetic pursuit of simplicity in later generations.“Xiang Wang”symbolizes the mind of the subject to gain the Tao and becomes a possibility to“interpret Chuang Tzu with Buddhism”and“interpret Chuang Tzu with Zen”,which is more connected with the aesthetic mood of super utility.