辭章之主要內涵與「意象」關係密切，辭章的內容結構成分，也都可用「意象」的觀念加以統合。其中，「情」與「理」屬於意象中的「意」，「事」與「景（物）」則屬於意象中的「象」。但因受語言本身、與作者個人學養的限制，以及文學追求「韻外之致」、「道」又有其不可言性等因素影響，「象」、「意」之間往往形成一道「空白」；它有賴於讀者調動自己先天的悟性、想像力、及後天的學養，進行填補、再創造，才能釋放出深藏其中的含蓄美、意境美、與渾沌美。故本文即從作者與讀者這兩條線索，並以稼軒詞為例，來探討辭章中「象不盡意」的理論基礎及其美感效果。

There is a very close relationship between the organization of writing and the use of “imagery.” Indeed we can foreground the role of “image” in the analysis of literary content and structure. For example, “feeling” and “reason” can be seen as images of “meaning,” and “matter” and “scenery” as images of “image.” Since the author's knowledge/experience, the language of the text, the literary meaning or connotation of the text and its Dao can never be known or understood completely, the “image” and “meaning” in one sense must always remain “blank.” These can only be recreated through the reader's intelligence, imagination, knowledge and receptivity to the text. Only then can the “beauty” of the text be clarified, made clear. Therefore this dissertation begins from the standpoint of both author and reader. Furthermore, I make use here of the role of the Jiao-Sheen's Chi in order better to exemplify the aesthetic theory set forth here, and more specifically to show why “image cannot express affection completely.”