境生象外:造型艺术语境中的空符表意之美  

Beyond Representation:The Expressive Beauty of Emptiness in the Context of Visual Arts

作　　者：郭景华 Guo Jinghua

机构地区：[1]杭州师范大学外国语学院

出　　处：《中国比较文学》2024年第4期19-33,共15页Comparative Literature in China

基　　金：国家社科基金重大项目“百年欧美汉学家中国美学学术史研究”(编号:23&ZD300)阶段性成果。

摘　　要：为探讨造型艺术中留白的表意机制与应用意义,本文从符号学中的空符号概念出发,溯源空符号这一概念的历史流变,找寻其与造型艺术中留白的关系,在此基础上探索空符号在造型艺术中的具体实践。文内以书法、绘画和建筑等造型艺术语境为例,分析了留白技法的使用带给不同种类造型艺术的画龙点睛之效,指出留白作为一种积极空符号,被应用于风格简洁、表意隐晦、意境幽远的造型艺术时更能发挥以少胜多的作用,并达到境生象外的艺术美学效果。Aiming to explore the acting mechanism and application significance of emptiness in visual arts,via the concept of blank signs in semiotics,this article traces the historical evolution of blank signs,seeks its relationship with emptiness in plastic arts,and explores the concrete practice of blank signs in specific visual arts on this basis.Taking calligraphy,painting and architecture as examples,this article analyzes the finishing touch effect of blank signs on different types of visual arts,and finally points out that emptiness,as a type of positive blank sign,plays an important role in visual arts with simple style,obscure expression and remote artistic conception,so as to achieve the artistic effect beyond the image.

关 键 词：造型艺术 空符号 符号学 留白 

分 类 号：J0-02[艺术—艺术理论]