《周易》意象观与意象美学的探究——基于存在论现象学视角

中国古典美学意象范畴的研究是当代意象美学研究的学术基础。《周易》是意象范畴的思想源头，其意象观从词源和思想层面奠基了意象范畴。《周易》的哲学思想在其实质上会通于西方的存在论现象学，借鉴海德格尔思想对其意象观进行阐释既是最切合《周易》思想的探究，也是对意象范畴的正本清源。在存在论现象学的视域下，《周易》中的“意象”并非含“意”的易象（卦爻象），而是圣人以易象所像、所立之象，亦即作为“意”的道之现象，美是向感性觉知开放的意象。这一意象观奠定了中国古典美学意象范畴对美的本质的领会和解释。文章从存在论现象学视域对《周易》意象观的美学内涵的揭示，提供了一个从源头处洞察中国古典美学意象范畴和源始地解决意象美学研究中的一些重大问题的理论视界。

A Study on Imagery Views in Zhouyi and Imagery Aesthetics fromOntological Phenomenology Perspective

The academic foundation of contemporary aesthetic research on imagery lies in the study of imagery category in Chinese classical aesthetics. Zhouyi is the ideological source of the imagery category, and its view of imagery sets the foundation of the imagery category on the etymological and ideological levels. The philosophical thought of Zhouyi in its essence is connected to the Western ontological phenomenology, and the interpretation of its view of imagery with reference to Heidegger's thought is not only the most relevant inquiry to the thought of Zhouyi, but also the most suitable way to clarify the source of imagery category. From the perspectives of ontological phenomenology, the imagery in Zhouyi is not the Yixiang (image) that contains “meaning”, but the “meaning” as the phenomena of Tao of image which the Sage created; the beauty is the imagery open to sensual perception. The above-mentioned view of imagery has laid the foundation of comprehending and interpreting the essence of beauty in the imagery category of classical Chinese aesthetics. This paper reveals the aesthetic connotation of the imagery of Zhouyi from an ontological phenomenological perspective, and this study provides a theoretical perspective to review imagery category of classical Chinese aesthetics and to solve some major problems in the study of imagery aesthetics.