象外之象是主體在審美活動中體悟物象或事象時,借助于想象力,調動起審美經驗,從而使物象或事象與主觀情意進一步有機交融而形成的。象外之象是主體依托于實象凝神遐想的結果,是一種無中生有的創造,是對現實時空的一種拓展。象外之象不能脫離實象而獨立存在,并對實象有所突破和改造,具有虛實相生的特點,乃至超越于虛實結合的象本身,達到無限。象外之象影響著主體對物象、事象的觀取方式,基于主體的審美經驗,有助于呈現物象和事象的神似,并以其自由的形態獲得了豐富的表現力。藝象包括實象和藝術家在創作過程中想象的象外之象,而欣賞者在此基礎上又有自己想象的象外之象。藝術家的創作常常通過象外之象增強象對意的傳達能力,給欣賞者留下足夠的再創造的空間。

Imagery beyond images(IbIs) evolves from the infusion of subjective affect into object or event images in aesthetic activities, during the process of which the subject perceives object and event images in the form of imagination-ignited aesthetic experience. IbIs results from the subject’s contemplation on physical images and therefore constitutes a creation out of the empty and an expansion of time and space. IbIs depends on transforms physical images. It shows itself as a symbiosis of emptiness and haveness and even goes beyond imagery per se to the extent of pointing to infinity. As IbIs is built on the subject’s aesthetic experience, it influences the subject’s perception of object and event images and contributes to the similitude in the representation of physical images. IbIs holdss rich expressivity in its free form. Artistic idea-imagery includes both perceptible physical images and the artist’s imaginary IbIs, based on which the recipients may engender their own IbIs through imagination. Artists’ creation relies on IbIs as a means to enhance imagery’s communicative power, allowing space for re-creation.