摘要
在中国古人那里，“形”与“象”这两个概念具有不同的含义：“形”，指事物实在的形体；而“象”指人对事物的意象感受，它带有强烈的主观性质。诗歌创作中，作为抒情之中介的景物，并非脱离人的主观感受的纯粹的客观外物，而是诗人对景物的生动意象。所以中国诗学中往往以“象”字来说明诗中所描写的景物。从创作的角度上说，诗中所写之“象”，是诗人看物时所形成的主观意象；从欣赏的角度上讲，赏诗所得之“象”，是读者看待后呈现于头脑中的无客观对应物的、虚幻的主现感受。因此，中国诗学又从佛学中借用了具有虚幻感受之含义的“境”字，来代替原来的“象”的概念。
In ancient China, the concepts of xing and xiang have different meaning. The former refers to the shapes of the actual matters, while the latter the human feelings of the matters that appear with strong subjectivity. The view description, in the poetry creation as a mediation of the expression of feelings, can not be regarded as a pure objective matter isolated from people's subjective feeings. It would rather be a very spiritual realm coming from the views in the poets' mind. This is the reason why the xiang is used for describing the views in the Chinese poetry. From the viewpoint of the literary creation, the xiang is the subjective images in the poets' mind. From the viewpoint of appreciation, the xiang the subjective feelings of the readers, which is illusory without objective counterparts. The Chinese poetics replaced the xiang with the jing borrowed from the Buddhist cannons, which is more illusory than the former.
出处
《北京师范大学学报（社会科学版）》
CSSCI
北大核心
2000年第2期43-49,共7页
Journal of Beijing Normal University(Social Sciences)
