“意象”的“是”与“非”  

The Dispute of“Imagery”

作　　者：韩伟 HAN Wei(School of Literature,Heilongjiang University,Harbin,Heilongjiang 150080,China)

机构地区：[1]黑龙江大学文学院,黑龙江哈尔滨150080

出　　处：《河北大学学报（哲学社会科学版）》2024年第2期73-80,共8页Journal of Hebei University(Philosophy and Social Science)

基　　金：教育部哲学社会科学研究重大攻关项目“中国文论与乐论关系通史研究”(23JZD035);国家社会科学基金一般项目“古代乐论视域下中国美学范畴形成与建构研究”(20BZW031)。

摘　　要：“意象”是中国美学的重要范畴之一,其进入学术话语体系的过程是偶然与必然的结合。作为中国美学学科化的副产品,“美学范畴”与“意象”实现了历史融合,这种融合既具有学理上的合理性,也不乏中西碰撞的偶然性。中国美学的“艺术美学”特征,使意象陷入了人为设定的“美学”与“艺术学”藩篱,这种划分的必要性有待商榷,“多研究些问题少谈些体系”是意象研究的合理策略。意象具有深厚的历史底蕴,其中蕴含着艺术思维中超时空、超门类艺术的共性质素,因此开展意象创构与生理学、神经科学的交叉研究,是进行中国古代美学范畴现代转化,甚至确定未来美学研究走向的可行路径。“Imagery”is one of the important categories of Chinese aesthetics,and its process of entering the academic discourse system is a combination of accident and necessity.As a by-product of the discipline-systemizing of Chinese aesthetics,“aesthetic category”and“imagery”have realized the historical integration.This phenomenon not only has the theoretical rationality,but also has the contingency of the collision between Chinese and Western cultures.The characteristics of“artistic aesthetics”of Chinese aesthetics make the imagery fall into the debate over the boundary between“aesthetics”and“art studies”artificially set.The necessity of this division remains to be discussed.“Study more problems and talk less about the system”is a reasonable strategy for imagery research.Imagery has a profound historical background,which contains the common artistic thinking of transcending time and space and transcending categories of art.Therefore,conducting interdisciplinary research on image creation,physiology,and neuroscience is a feasible path for the modern transformation of ancient Chinese aesthetic categories and even determining the future direction of aesthetic research.

关 键 词：意象 学科化 美学 艺术学 神经科学 

分 类 号：B83[哲学宗教—美学]