中国古典文艺理论中的意象及其审美意蕴  

Image and it’s Aesthetic Implication in Chinese Classical Literary Theory

作　　者：于跃 Yu Yue(Henan University,Kaifeng 475001,China)

机构地区：[1]河南大学美术学院,河南开封475001

出　　处：《河南师范大学学报（哲学社会科学版）》2023年第6期124-130,共7页Journal of Henan Normal University(Philosophy and Social Sciences)

基　　金：河南省哲学社会科学规划项目(2020BWX012)。

摘　　要：意象是中国古典文学艺术理论重要的范畴之一,它既是“意”与“象”的审美统一,也是“隐”与“秀”的辩证统一。诗歌意象侧重情景交融,其审美特征主要表现在寓情于景和缘情造景两个方面;绘画意象主要在“意余于象”和“象外见意”两个地方用力,期望以此营造出意象相契的美学效果;书法意象强调形意合一,以“入神”与“妙有”为其审美追求的境界。中国古典文艺理论中意象范畴的抽象性和具象性特征,既相互映衬,又彼此统一,表现出了复杂而多样的审美意蕴。Image is one of the important categories of Chinese classical literature and art theory, it is not only the aesthetic unity of “meaning” and “image”, but also the dialectical unity of “hidden” and “show”. The poetic image lays emphasis on the blending of scenes, and its aesthetic characteristics are mainly embodied in two aspects: the blending of emotion with scenery and the forming of scenery with marginal emotion. The image of painting is mainly in the two places of “meaning beyond the image” and “image outside the meaning”, hoping to create the aesthetic effect of image coincidence. The image of calligraphy emphasizes the unity of form and meaning, and takes “entering the spirit” and “wonderful” as the realm of its aesthetic pursuit. The abstract and concrete characteristics of image category in Chinese classical literature and art theory not only set off each other, but also unify each other, showing complex and diverse aesthetic implications.

关 键 词：古典文艺理论 诗歌意象 绘画意象 书法意象 

分 类 号：I0[文学—文学理论]