论视觉抽象  

On Visual Abstraction

作　　者：王才勇[1] 

机构地区：[1]复旦大学中文系,上海200433

出　　处：《江苏行政学院学报》2014年第5期40-45,共6页The Journal of Jiangsu Administration Institute

基　　金：国家社科基金项目“视觉现代性研究”(09BZX066)的阶段性成果

摘　　要：视觉抽象是人类视觉审美发展到一定阶段的产物,是人刻意走离日常视觉形式、刻意间离现实的结果。作为现代视觉审美的基本形式之一,它是间离现实的一种极端形态。在其历史展开中,呈现出三种抽象形式:将物象转换成单纯的线条、色彩和形状,将物象空间转换成无物象空间以及将可视的静止物象转换成不可视的动态景象。视觉抽象表面上消灭物象,其实是消灭了前视觉经验对意义感知的参与,使视觉感知专注于当下的视看,并且只能由这当下视看来建构意义。这不仅是视觉抽象之美学意义的真谛所在,也是现代性审美区别于传统审美范式的关键所在。visual abstraction is the result of human visual aesthetics when it reaches a certain stage, representing the human intention of deliberately departing from the daily visual forms and deliberately alienating the reality. As one of the basic forms of modern visual aesthetics, it is an extreme form of alienation from reality. It unfolded three abstract forms in its history： turning images into pure lines, colors and shapes; turning image space into non-image space; turning visible still images into non-visual dynamic scenes. On the surface, visual abstraction eliminates the visual images, but in fact, it eliminates the participation by visual pre-experience in the perception of meaning, so that visual perception is only focused on the current view, which is the only basis for the construction of meaning. This is not just the essence of the aesthetic sig- nificance of visual abstraction, but also the key to distinguishing modern aesthetics from traditional aesthetic paradigms.

关 键 词：抽象 具象 前经验 视觉感知 视觉现代性 

分 类 号：G112[文化科学]