【摘要】 意象理论是中国传统美学中的核心概念之一，在舞蹈实践中，意象的原理与作用也同样存在。根据舞蹈中身体形象和道具等的视觉特征，意象在舞蹈创作中被认为是“情意之象”，即通过“象”达到对“情意”的表达。舞蹈作品中必须有“意象”，但这种“意象”不仅是一个具体的形象，更应有一种兼具深厚意蕴的“象外之象”，形成一种高远的意境。将舞蹈创作中的具体实例与中国艺术理论中有关“象”和“意象”的概念及范畴相结合，可将舞蹈创作中“象外之象”总结为四种形式，即“象外有象”“组合之象”“象外之反象”“恍惚之象”(大象无形)。本研究一方面从编创的角度，分析舞蹈作品中的造“象”手法，以及“象外之象”的意境生成；另一方面，从阐释学的角度出发，分析提炼舞蹈作品中形象创造的理论根源，总结舞蹈理论，建构理论自觉、逻辑自洽的创作批评体系。更多还原

【Abstract】 Imagery theory is one of the core concepts in traditional Chinese aesthetics, and its principles and functions are likewise present in dance practice. In light of the visual features of bodily form, props, and other stage elements in dance, imagery in choreographic creation is understood as an "image of emotion," that is, an expressive form through which "emotion" is conveyed by means of "image." A dance work must contain imagery. However, such imagery is not merely a concrete image or figure, but should also embody an "image beyond the image," one endowed with profound resonance and capable of generating an elevated artistic conception. Drawing on concrete examples from dance creation and engaging relevant concepts and categories of "image" and "imagery" in Chinese art theory, this study identifies four forms of "images beyond the image" in dance creation: "image beyond the image," "composite image," "counter-image beyond the image," and "indeterminate image"(image without form). On the one hand, from the perspective of choreography and creation, this study analyzes techniques of image-making in dance works and the generation of artistic conception through the "image beyond the image." On the other hand, from a hermeneutic perspective, it examines and distills the theoretical roots of image construction in dance works, with a view to synthesizing dance theory and constructing a theoretically self-aware and logically coherent system for creation and criticism.更多还原