摘要
在王弼玄学体系中,"言"与"象"就是现象之"有",而"意"则是本体之"无"."无"虽然不可言说,却可以通过"有"去体会和把握,这种资有而悟无的思维方式,与他所讲的寻象以观意是相通的.王弼强调"言""象"皆以"意"为本,唯有忘言、忘象,才能明象、存意,这不仅纠正了汉代易学"存象忘意"的理论弊端,而且揭示了言、象、意逐层递增的意指关系.王弼在阐发《周易》意象思想的基础上,主张以玄静之心来映照万物,以观感化物为基础,在拟象中融入主体的情思和意趣,才能使客观物象升华为审美之象,从而形成了静、观、拟的意象创构机制.王弼通过对"本无"论与意象关系的辨析,极大地拓展了意象的内涵层次和使用范围,对后来的文学艺术批评具有重要影响.
Abstract
In Wang Bi's metaphysical system,"yan(words)"and"xiang(images)"refer to the"be-ing"of phenomena,while"yi(meaning)"refers to the"nothingness"of noumenon.Though"nothingness"cannot be directly articulated,it can be experienced and grasped through"being."This approach of perceiving the void through the tangible aligns with Wang Bi's method of see-king imagery to understand meaning.Wang Bi emphasized that"words"and"images"are all based on"meaning,"and that only by transcending words and images can we truly understand and preserve our meaning.This perspective not only corrects the theoretical shortcomings of the Han Dynasty Yijing,namely"preserving imagery while neglecting meaning,"but also reveals the layered significance of speech,imagery,and meaning.
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