“意境”一词源自中国传统文艺批评,在文艺创造、批评活动中,“意境”通常是指创作主体、接受主体的情(意)与创作对象、接受对象的景(境)所融合而成的特殊审美空间。“意境”是衡量文学性、艺术性的一个重要标准,“意境”批评通常被视为传统文艺批评的核心范畴。但这并不意味着“意境”只有古典性、文艺性的维度,也并非意味着“意境”研究就只能局限于传统诗词书画研究。综观“意境”发展史,我们可以辨析出一条横向拓展的脉络,即从诗学、佛学向文艺学、美学的拓展。盛唐诗人王昌龄的《诗格》中提出“诗有三境”说,标志着“意境”最早出现于诗学领域。至元明清,李日华论画,康有为、 The term “artistic conception” originates from the criticism of Chinese traditional literature and art. In artistic creation and criticism, “artistic conception” usually refers to the subject of creation and the subject of creation and the subject of acceptance ) Into a special aesthetic space. “Artistic conception ” is an important standard to measure literaryness and artistry. “Artistic conception ” criticism is usually regarded as the core category of traditional literary criticism. However, this does not mean that the “artistic conception” has only the classical and literary dimensions, nor does it imply that the study of “artistic conception” can only be confined to the study of traditional Chinese painting and calligraphy. Looking at the development history of “artistic conception”, we can distinguish a context of horizontal development, that is, from poetics, Buddhism to literature and art, aesthetics. Tang Dynasty poet Wang Changling’s “poem” put forward “poetry has three conditions,” said, marking the “artistic conception ” first appeared in the field of poetics. To Yuan Ming and Qing Dynasties, Li Rihua on painting, Kang Youwei,