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文艺理论研究

文艺理论研究 ›› 2022, Vol. 42 ›› Issue (1): 189-198.

• 古代文论与古代文学的理论研究 • 上一篇    下一篇

“意象”范畴现代嬗变新探

——兼论与“意境”的理论纠葛及其现代建构

姜荣刚   

  1. 杭州师范大学人文学院、文艺批评研究院
  • 出版日期:2022-02-22 发布日期:2022-02-22
  • 作者简介:姜荣刚，文学博士，杭州师范大学人文学院、文艺批评研究院教授，主要从事中国近代文学转型及文艺学研究。
  • 基金资助:
    国家社科基金一般项目“国粹思潮与中国文学近现代转型研究”［项目编号: 21BZW026］、国家社科基金重大项目“中国现当代文学思潮中的古典传统重释重构及其互动关系史研究”［项目编号: 21&ZD267］阶段成果

A Probe into the Modern Evolution of the Conceptualization of “Image” and Its Interaction with “Artistic Conception”

Jiang Ronggang   

  1. the School of Humanities and the Academy of Literary Criticism, Hangzhou Normal University
  • Online:2022-02-22 Published:2022-02-22
  • About author:Jiang Ronggang, Ph. D., is a professor in the School of Humanities and the Academy of Literary Criticism,Hangzhou Normal University. His research interests include the transformation of modern Chinese Literature and the theories of literature and art.
  • Supported by:
    the National Social Sciences Foundation (21BZW026) and the Major Project of the National Sciences Foundation of China (21&ZD267)

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摘要： “意象”范畴的现代嬗变，以往认为主要受西方意象派范畴的影响，而意象派范畴又先于此受到中国传统意象思维或范畴的影响，这种看法有悖实际。事实上，在此之前，“意象”就以格义的方式开启了与西学的对接，这一过程才是“意象”范畴现代嬗变的关键，意象派范畴的影响只是这一大河中汇入的一条支流。同时，由于“意象”的现代建构又不可避免地牵涉到与其极相近的“意境”概念，从而造成了二者长期以来的理论纠葛。厘清这一点，不仅可以清晰地见出传统“意象”“意境”概念如何在西学渗入下裂变的整个过程，而且对于认识二者理论现代建构的得失以及当下的理论重构来说，均不无可资借鉴之处。

关键词: 意象, 意境, 意象派

Abstract: The prevailing belief concerning the conceptualization of “image (yixiang)” has been that the modern evolution of image in China was primarily informed by the Western idea of imagism whereas the latter was in turn inspired by Chinese traditional thought or categorization of image. This paper tries to argue to the contrary. The translation of the Western learning into China initiated the encounter with the traditional Chinese notion of “image”, and the process of translation is key to the modern evolution of “image”, with the influence of the Imagism being one of the tributaries. In the meantime, the modern construction of “image” inevitably involves a similar concept of the “artistic conception (yijing)”, which resulted in their longstanding entanglement. A clarification of their relation may not only help to reveal the process in which the traditional concepts of “image” and “artistic conception” were transformed with  the introduction of Western concepts but also provide reference for us to understand the gains and losses in the modern construction of the two concepts and the current theoretical reconstruction.

Key words: image, artistic conception, the Imagism