摘要
作为中国美学的两个核心范畴,意象与意境的内涵及关系仍较为模糊.其原因主要有两方面:在中国古代美学语境中,意象与意境都被赋予了超越认识论主客二分的意义,具有相近的理论内涵;在中国现代美学语境中,意象与意境又都被视为本土美学话语的标识性概念,是建构美学理论体系的前提和基础.厘清意象与意境的关系,不仅能够明确中国美学话语体系建构的逻辑起点,还能够从根本上把握审美活动的内在机制和逻辑.对二者内涵及关系的分析,需要从人性结构的感性与理性、认识与实践的相互关系中进行考察.事实上,意象与意境分别指向美学理论建构的两个维度,即意象偏重认识论与意境偏重存在论.而中国现代美学本土话语体系正是以这两个维度为基础,在审美静观与审美直观的相互作用中充分发展.
Abstract
Imagery and artistic conception are two core concepts in Chinese aesthetics,yet their mean-ings and relationship remain somewhat ambiguous.Analyzing their meanings and relationship re-quires examining the interplay between sensibility and rationality,as well as cognition and prac-tice within the structure of human nature.In fact,imagery and artistic conception correspond to two different dimensions in the construction of aesthetic theory:imagery leans towards episte-mology,while artistic conception focuses on existentialism.The development of the modern Chi-nese aesthetic discourse is based on these two dimensions,fully evolving through the interaction of aesthetic contemplation and aesthetic intuition.
NETL
NSTL
万方数据