中国审美意象理论的历史生成

发布时间：2018-03-16 15:03

本文选题：言　切入点：意　出处：《山东师范大学》2003年硕士论文　论文类型：学位论文

【摘要】： 本文共分为三个部分。第一部分：言与意的关系问题长期以来有言能尽意和言不尽意的困惑，但这是在不同意义指向下的矛盾。从语言学角度来说，言语活动可以区分为语言与言语，语言是需要人们共同遵守的语法准则和词汇系统，言语则是个体表情达意的具体运用，二者对意义要求的不同就造成了言能尽意和言不尽意的区分。从中国哲学文化传统而言，儒家是重言重意的，道家、禅宗则是重意轻言的，所以前者往往强调言能尽意而后者强调言不尽意。而从意的角度来说，意可以分为言内之意和言外之意，二者在诗学理论当中是融合的，内意要尽其理，外意要尽其象，其中意之构成的理志与情意的统一是存在于具体的意象结构当中。当然人们在具体的艺术创作当中总是力求要表达出言外之意来，正所谓意在言外。第二部分：解决言不尽意这一矛盾的关键在于引入“象”这一概念。为此本文首先论述了“象”的语源含义，考察了其意义流变的过程：从最初的“大象”到卦象，再到想象、象征含义的出现。《周易·系辞》中提出“立象以尽意”的表达方式，这就确立了以“象”为中介来表达人类的主观情感，以及对人生万物的体验，对宇宙发生的认识等等情意。所以本文着重从老子和庄子的象道观来论述象和道的关系，以探求象与意融合的历史必然性。老子以“无状之状，无物之象”来称谓道，其存在状态是“惚兮恍兮，其中有象；恍兮惚兮，其中有物。”，而道的本体则体现为“大音希声；大象无形”。庄子则以“象罔”来体道、悟道，提出“天籁”、“地籁”、“人籁”的象道观。这为后世意与象的结合奠定了必要的语意基础。第三部分：“意象”作为合成词的形式最早是出现在东汉王充的《论衡·乱龙篇》中，他提出了“礼贵意象”的说法。哲学意义上的意象关系是《周易·系辞》中提出的“立象以尽意”，其后经过庄子、王弼的生发更具有了哲学思辩的意义蕴涵。意象在审美领域中主要是由魏晋的挚虞、刘勰从哲学意义的基础上转化而来，尤其是刘勰第一次将“意象”作为艺术构思的产物而提出，认为艺术创作是要“窥意象而运斤”，这样意象就历史的生成了。审美意象在生成之后具有其独特的美学特征，那就是要追求象外之意的表达和情与景的交相融合，并且一般采取赋、比、兴的意象经营方式。从古代的意象式批评到现在意象理论体系的创构，这充分说明了意象所具有的活力和生机，在文化日益全球化的今天，我们重新发掘意象这一中国古代文论、美学的核心范畴，，我认为是有意义和价值的。
[Abstract]:This paper is divided into three parts. Part one: the relationship between speech and meaning has long been confused, but it is a contradiction under different meanings. From the linguistic point of view, speech activity can be divided into language and speech. Language is the grammatical principle and lexical system that people should abide by, and speech is the concrete application of individual expression. The difference of meaning requirements between the two causes the distinction between speech, ability and meaning. Confucianism stresses meaning, Taoism and Zen pay more attention to meaning than words. Therefore, the former often emphasizes that words can do their best while the latter emphasizes that words do not mean everything. From the point of view of meaning, meaning can be divided into inner meaning and implied meaning. In the theory of poetics, the two are merged. The inner meaning should be reasonable, and the external meaning should be as much as possible. The unity of meaning and emotion exists in the concrete image structure. Of course people always try to express the implicative meaning in the concrete artistic creation. The second part: the key to solve the contradiction is to introduce the concept of "elephant". Therefore, this paper first discusses the etymological meaning of "elephant" and examines the process of its meaning evolution: from the original "elephant" to the hexagram image, and then to the imagination. The appearance of symbolic meaning. In the Book of changes, the expression of "setting up an image with the best of intention" is put forward, which establishes the expression of human's subjective feelings and the experience of all things in life through "image" as an intermediary. So this paper discusses the relationship between image and Tao from the view of Taoism of Laozi and Zhuangzi, in order to explore the historical inevitability of the fusion of image and meaning. The state of its existence is "trance", in which there is an elephant; in a trance, in which there is something. "the Noumenon of the Tao is embodied in" the sound of the big voice and the sound of the elephant; the elephant is invisible. "Chuang Tzu uses" the elephant to come to the body and realize the way. " This paper puts forward the concept of "Teana of Nature", "Teana of Earth" and "Teana of Man", which lays a necessary semantic foundation for the combination of meaning and elephant in later generations. The third part: the form of "image" as a compound word was first appeared in the Eastern Han Dynasty Wang Chong's Analogies and chaos of the Dragon. He put forward the idea of "ritual and expensive image". The relationship of image in philosophy is the idea of setting up an image to the best of his mind in the Book of changes, and then he passes through Zhuangzi. Wang Bi's birth has the meaning of philosophical thinking. In the aesthetic field, the image is mainly from the Wei and Jin dynasties, Liu Xie from the philosophical significance of the transformation from the basis, In particular, Liu Xie put forward "image" as the product of artistic conception for the first time, and thought that artistic creation is to "peep at the image and carry the weight", so that the image of history is generated. The aesthetic image has its unique aesthetic characteristics after it was created. That is to pursue the expression of the meaning outside the image and the intersection of emotion and scenery, and generally adopt the image management mode of Fu, comparison and prosperity, from the ancient image criticism to the creation of the present image theory system. This fully illustrates the vitality and vitality of image. Today, with the globalization of culture, we rediscover image, the core category of Chinese ancient literary theory and aesthetics, which I think is meaningful and valuable.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2003
【分类号】：I01

【引证文献】