本文在中西方两种诗学传统的交汇处 ,提出了一个新的诗学范畴———“情象” ,文中不但论证了其概念内涵和交感化生的精神运演及存在形态诸问题 ,而且还把其视为跨文化语境中的诗学互为转换的机枢。同时还认为中国古典诗歌与西方现代主义诗歌在具体文体的创作中 ,都需要经过意象———情象———意境(本体 )这样三个首尾相连的艺术环节 ,从而打通了中国古典诗学与西方现代诗学的隔阂 ,为中国现代诗学的重建提供了某种理论基础 This paper presents a new category of poetics at the crossroads of the two poetic traditions in China and the West. The article not only demonstrates the connotation of the concept and the spiritual performance and the existential forms of sympathy, But also treats it as the pivot of the translation of poetics in the intercultural context. At the same time, we also think that in Chinese classical poetry and Western modernism poetry, we need to go through three art parts that are end-to-end connected with the image-emotion-mood (ontology) The estrangement with western modern poetics provides some theoretical basis for the reconstruction of modern Chinese poetics