中国艺术表现之“立象尽意”与西方语言本体论  

“Lixiang jinyi” in Chinese Artistic Expression and Western Language Ontology

作　　者：杨清 曹顺庆[1,2] YANG Qing;CAO Shunqing

机构地区：[1]四川大学文学与新闻学院,成都610065 [2]欧洲科学与艺术院

出　　处：《天津师范大学学报（社会科学版）》2022年第2期102-108,共7页Journal of Tianjin Normal University(Social Science)

基　　金：国家社会科学基金重大项目(19ZDA289)。

摘　　要：中国艺术表现讲究通过"象"营造超越形式的"意象"艺术世界。无论是中国古代文论通过"立象尽意"以达到"象外之象"的审美境界,还是书论中的"神彩"论认为"书之妙道,神彩为上",抑或画论中的"传神"论主张"以形写神",均追求超越"象"与语言之外的意境。西方则持语言本体论,无论是列维-斯特劳斯主张艺术乃符号,抑或是海德格尔认为语言本身就是诗,在真理的显现在于语言或深层结构这一认识上达成共识。中西方在艺术表现这一话语言说方式上存在本质差异,正是这种差异造就中西方不同的审美意识。Chinese artistic expression advocates creating an artistic world beyond form by“xiang”(象).Whether it is the aesthetic world of“xiang beyond xiang”(象外之象)achieved by“lixiang jinyi”(立象尽意)in ancient Chinese literary theory,the theory of“shencai”(神彩)in calligraphy theory that holds“the perfect calligraphy is based on shencai”,or the theory of“chuanshen”(传神)in painting theory that aims to“be alike in spirit by form”(以形写神),all of which pursue an artistic conception beyond“xiang”and language.On the contrary,the West believes in language ontology:Claude Levi-Strauss advocates that art is a symbol,and Martin Heidegger believes that language is poetry,both of which indicates that the truth lies in language or deep structure.There are essential differences between China and the West in the aspect of artistic expression,which creates different aesthetic consciousness between China and the West.

关 键 词：“立象尽意” 语言本体论 艺术表现 话语言说方式 

分 类 号：I209[文学—中国文学]