意象与意境:美学理论的建构与辨析  

Imagery and Artistic Conception:The Construction and Discernment of Aesthetic Theory

作　　者：杨宁 Yang Ning

机构地区：[1]中央民族大学文学院,北京100081

出　　处：《中国文学批评》2024年第4期76-85,188,共11页Chinese Journal of Literary Criticism

基　　金：国家社会科学基金项目“戴震思想与中国现代美学的发生”(20CZX062)阶段性成果。

摘　　要：作为中国美学的两个核心范畴,意象与意境的内涵及关系仍较为模糊。其原因主要有两方面:在中国古代美学语境中,意象与意境都被赋予了超越认识论主客二分的意义,具有相近的理论内涵;在中国现代美学语境中,意象与意境又都被视为本土美学话语的标识性概念,是建构美学理论体系的前提和基础。厘清意象与意境的关系,不仅能够明确中国美学话语体系建构的逻辑起点,还能够从根本上把握审美活动的内在机制和逻辑。对二者内涵及关系的分析,需要从人性结构的感性与理性、认识与实践的相互关系中进行考察。事实上,意象与意境分别指向美学理论建构的两个维度,即意象偏重认识论与意境偏重存在论。而中国现代美学本土话语体系正是以这两个维度为基础,在审美静观与审美直观的相互作用中充分发展。Imagery and artistic conception are two core concepts in Chinese aesthetics,yet their meanings and relationship remain somewhat ambiguous.Analyzing their meanings and relationship requires examining the interplay between sensibility and rationality,as well as cognition and practice within the structure of human nature.In fact,imagery and artistic conception correspond to two different dimensions in the construction of aesthetic theory:imagery leans towards epistemology,while artistic conception focuses on existentialism.The development of the modern Chinese aesthetic discourse is based on these two dimensions,fully evolving through the interaction of aesthetic contemplation and aesthetic intuition.

关 键 词：中国现代美学 本土话语 人性结构 认识论 存在论 

分 类 号：I206[文学—中国文学]