中国传统美学“意境”之“意义域”开放性构成及其学理渊源  

Open Construction of “Meaning Domain” of “Artistic Conception” in Traditional Chinese Aesthetics and Its Theoretic Origin

作　　者：李天道[1] 

机构地区：[1]四川师范大学文学院,四川成都610066

出　　处：《山东师范大学学报（人文社会科学版）》2013年第6期80-86,2,共7页Journal of Shandong Normal University(Humanities and Social Sciences)

基　　金：作者主持的国家社会科学基金项目"中国古代科学技术思想与美学理论研究"(08BZX068)的阶段性成果

摘　　要：就中国传统美学"意境"说而言,其意义域建构追求一种空灵性和生成性,推崇意义域营构的自明性和开放性,注重构筑的自然态势,强调意义域生成的张力和弹性,追求象外之意。这与中国哲学所谓的"言不尽意"、"立象尽意"说的影响相关。"意境"美学思想可以说最早就包含在老子对构成宇宙万物之"有"、"无"一体的"道"及其富有生机活力的描述中,并规定着"意境"所要透过"境"以表现其意义域的开放态势。Speaking about ＂artistic conception＂ in traditional Chinese aesthetics, construction of its meaning domain seeks a sort of ethereality and generation, canonizes its self - evidence and openness, stresses its natu- ral posture, and highlights its tension and elasticity. In a word, it praises highly the hidden meaning beyond the image. This has to do with impacts of the theory of ＂Not saying all that is known＂ and ＂Offering an image for all that is known＂ in traditional Chinese philosophy. It might be said that the aesthetic thought of ＂artistic conception＂ has all along been embedded in his Tao of ＂being＂ and ＂not being＂ as an integral whole consti- tuting the cosmic inventory and his exposition full of vigor and vitality; and stipulates the ＂conception＂ through which ＂artistic conception＂ will be able to reveal the open posture of its meaning.

关 键 词：“意境”之意义域 中国传统美学 言不尽意 大象无形 有无相生 

分 类 号：B83-09[哲学宗教—美学]