"大象""象罔"并無神秘,實即"非對象性"之狀態。人與自然之間從"物我分裂"的對象性關系,經由模仿、想象而建構"物我合一"的非對象性關系,也就進入"大象"之境,由此而體道得意。"立象盡意"就是指由對象性之"象"轉換為非對象性之"大象"而體道得意的過程。對"象"與"道"之關系的理解深刻影響著中華民族的文化實踐。在文學藝術活動中則體現為"象"與"大象"互換互動互生互釋,無論"意象""意境""境界"都同時包含著"象"與"大象",是雙方共同構成的張力場,或曰"象—大象"。"象—大象"是中華審美文化的細胞,它生成了中華審美文化的獨特品格,也決定著中國古典美學和古代文論獨特的思維方式和表述方式。

"Daxiang(great image)" and "Xiangwang(beings without trace)"area state of "Non-Objectivity". Through imitation and imagination, the relationship between human and nature is transformed from object relationship to non-object relationship, which ultimately leads to human understanding of "Tao". This is the meaning of "establishing Xiang to fully express idea". "Yixiang(image)", "Yijing(ideo-mood-imagery)" and "Jingjie(state or realm)" are the fields composed of "Xiang"and "Daxiang", which can be called "Xiang-Daxiang"."Xiang-Daxiang" is the cell of the Chinese aesthetic culture and it produces the unique character of Chinese aesthetic culture, and also determines the unique way of thinking and expression of Chinese classical aesthetics and ancientChinese literary theory.