再論意境的本質及其理論定位

從王國維以來，論者雖概稱“意境”爲範疇，却始終未從範疇的理論概括性和抽象性上來把握它，進而考慮它和古典詩歌審美特質的關係，同時顧及概念的歷史沿革和約定俗成性，只是在普通概念的層面上詮釋其内涵，以致産生諸多歧義。本文根據張東蓀對範疇的界定，由範疇屬性來對意境加以理論定位，將意境理解爲概括和衡量古典詩歌詩美生成機制的抽象範疇，并通過大量文獻證明，到19世紀的詩論中，“意境”一詞已指涉古典詩歌藝術特徵、藝術效果及其生成方式的全部内容，核心則落實於意象化抒情的詩美生成機制，其豐富性和包容性具備了範疇所必要的强大概括力和悠久的歷史淵源。 Since Wang Guowei’s time, scholars have frequently labeled “Yi Jing” as a theoretical category. However, they have not fully examined it in terms of the generality and abstraction that a category demands, nor have they deeply explored its connection to the aesthetic qualities of classical poetry. Furthermore, they have neglected the historical evolution and conventional understanding of the concept. Instead, the term has been interpreted in a more superficial way, leading to significant ambiguity. In this paper, drawing on Zhang Dongsun’s definition of “category,” I aim to establish the theoretical positioning of “Yi Jing” as an abstract category that encapsulates and evaluates the aesthetic mechanisms underlying classical poetry. Through extensive textual analysis, I demonstrate that by the 19th century, “Yi Jing” had come to refer comprehensively to the artistic qualities, effects, and generative processes of classical poetry. At its core, the term focuses on the aesthetic creation of poetry through imagery-driven lyricism. Its richness and inclusiveness provide it with the necessary generalizing force and deep historical roots to be recognized as a theoretical category.