抽象艺术具身化:孟禄丁审美心智的认知延展与具身转向  

Embodiment of Abstract Art

作　　者：支宇[1,2] ZHI Yu

机构地区：[1]四川大学艺术学院 [2]《认知诗学》编辑部

出　　处：《当代美术家》2025年第1期144-153,共10页Contemporary Artists

摘　　要：自20世纪80年代以来,孟禄丁在中国艺术界多以“纯化语言”和抽象艺术“离身美学”的代言人形象出场。事实上,孟禄丁抽象艺术的话语方式是“具身的”(embodied)而非“离身的”(disembodied)。从当代认知美学角度看,孟禄丁抽象艺术具有三重知觉维度:“人机交互”而非“机械设定”、“文脉嵌入”而非“情境抽离”、“媒介延展”而非“材料固化”。也就是说,孟禄丁艺术经历了从“离身美学”到“审美具身化”的知觉转向,“抽象艺术具身化”才是其抽象艺术的核心理念与知觉进路。Since the 1980s,Meng Luding has appeared in Chinese art circle as"the purification of language"and"detached aesthetics"of abstract art.In fact,the discourse of Meng Luding’art is embodied rather than disembodied.From the perspective of cognitive aesthetics,Meng Luding's abstract art has three dimensions of perception:"human-computer interaction"rather than"mechanical setting","context embedding"rather than"situational isolation",and"media extension"rather than"material solidification".In other words,the art of Meng Luding has experienced a perceptual turn from"disembodied aesthetics"to"embodied aesthetics".The"embodiment of abstract art"is the core idea and perceptual approach of his abstract art.

关 键 词：审美具身化 孟禄丁 抽象艺术 认知延展 具身转向 

分 类 号：J205[艺术—美术]