本文主旨在於探討「象」、「圖象」、「意象」(image, images)在中國文學、書畫藝術活動中，所隱含之有關圖象過渡與傅輸的歷史、文化與美學問題。本文首先引述嚴羽《滄浪詩話》所提及的「羚羊掛角」的意象：「盛唐諸人唯在興趣，羚羊掛角，無跡可求」討論此一意象在中國文藝理論中，所隱含之文學圖象的過渡與傳輸的美學問題。其次討論中國文藝理論所謂「象外之意」的傳輸意義，尤其王國維在《人間詞話》所提及之興趣（嚴羽）、神韻（王阮亭）、境界（王國維）等概念的修辭與美學意含，探討其中所隱含的詩之法的意義，以及在法的禁令之前，文學傳輸如何可能的問題，並指出王國維的境界說隱含「互文性」(intertextuality)概念所指涉的文本交叉、互涉、重疊的跨文化對話與傳輸型態。此外，本文進一步鋪陳中西文化思想中有關文化、圖象概念的多重意義，分別探討中西文化圖象的過渡與傳輸的不同意義。最後，針對司空圖《二十四詩品》韻外之致的美學特質，對照以尚－呂克•南希(Jean-Luc Nancy)的圖象－隔絕的概念，探討圖象存在所涉及的穿越與過渡、可見與不可見、差其與隔絕等概念的哲學與美學意義，以見中西方有關圖象思維的差異與會通。

This paper aims to explore the various meanings of "xiang" (象 image), as way of cultural transmission, in the field of Chinese Art theories, It will discuss, firstly, the metaphor of "ling yang guajiao," in Ts 'ang-lang's Remarks on Poetry of Yan Yu: "In the stirring and excitement (xing qu) of their poetry, the High Tang writers were those antelopes that hang by their horns, leaving no tracks to be followed," to investigate its various forms transmitted in Chinese art theories. Second, this paper will examine the different types of aesthetic terms based on the image of "ling yang guajiao," established in different context of understanding, such as xingqu (feeling and taste), shenyun (divine and inner resonance) or jingjie (poetic horizon), and discuss the problematic of aesthetic transmission implied in these terms which were considered as basic law of poetry. It will expose also the different understanding of image as transitus, and image as distinct in West and in China separately.