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意象不仅是传统美学的重要命题,也是现代美学的核心范畴。从王国维的境界说开始,经过朱光潜的情趣说与宗白华艺术境界的阐释,以及蒋孔阳先生的“美在创造中”“多层累的突创”等实践创造论美学,汪裕雄的审美意象学,夏之放的艺术意象元范畴说,顾祖钊、童庆炳的文学形象三至境之一论的发展,至朱志荣形成了比较系统的意象创构论美学。意象创构论美学由表层的本体论、构成论、创构论、特征论、风格论五大板块与深层的生命论构成,并通过天人合一的思维方式与超感性的思维方式,将表层的意象创造与内在的生命价值进行了有效沟通,既使得意象的艺术创构有了生命的灵动而有了价值的根基,又使得生命意识因艺术意象的介入而获得了感性的形式,使得意象的感形式与生命意识获得了统一与融合。
Imagery is not only an important proposition of traditional aesthetics, but also a core category of modern aesthetics. From the realm of Wang Guowei’s theory, through the explanation of Zhu Guangqian’s taste and the artistic realm of Zong Baihua and the practice creation aesthetics by Mr. Jiang Kongyang, such as “beauty in creation” and " Wang Yuxiong’s aesthetic imagery and Xia Zhi’s imagery of artistic imagery and meta-categories mean that Gu Zazhao and Tong Qingbing’s development of the three-point theory of the literary image led to the formation of a relatively systematic imagery aesthetics by Zhu Zhirong. The theory of image creation aesthetics consists of the five main sections of ontology, constitution theory, creation theory, characteristic theory and style theory and deep life theory. Through the thinking of heaven and man and the super-sensitive thinking mode, Image creation and intrinsic value of life effectively communicate, so that the creation of the image of the art has the foundation of the life of the clever and valuable, but also makes the sense of life due to the intervention of the art image obtained the emotional form, making the image The sense of form and awareness of life gained unity and integration.