东西方美学表现中的差异性——论创作者的在场与缺席  

Differences in Eastern and Western Aesthetic Expressions:On the Presence and Absence of Painters

作　　者：郑晴川 Zheng Qingchuan(China Academy of Art)

机构地区：[1]中国美术学院

出　　处：《美术》2025年第4期141-143,共3页Art Magazine

摘　　要：本文深入探讨东西方艺术表现的美学差异,剖析“在场”与“缺席”在中西方绘画中的不同呈现。西方艺术注重艺术家主体的直接介入,借助签名、独特构图和空间关系凸显作者的在场;而中国绘画倾向于隐退个体身份,通过落款、留白及题跋构建开放的艺术交流空间。本文对扬·凡·艾克的《阿尔诺芬尼夫妇像》与董其昌的仿倪瓒作品进行对比,揭示两种美学传统在表现方式、观者关系及文化逻辑上的不同,以此反思跨文化比较研究的方法论,强调基于文化差异性的研究方法对构建多元美学体系的重要意义。This article discusses aesthetic differences in eastern and western artistic expressions,and analyzes different presentations of the“presence”and“absence”of painters in Chinese and western paintings.Western art emphasizes the direct involvement of painters and demonstrates the presence of painters through signatures,unique compositions and spatial relationship,whereas Chinese painters tend to be absent and build an open space for artistic exchanges through signatures,blank space,prefaces and postscripts.This article compares Jan van Eyck's Portrait of Giovanni Arnolfini and his Wife with copies of Ni Zan's works by Dong Qichang,and discusses differences between the two aesthetic traditions in expression,relationship with audience and cultural logic,thereby reflecting on the methodology of cross-cultural comparative research and emphasizing the importance of cultural difference-based research methods in building a diversified aesthetic system.

关 键 词：当代美学 东西方绘画 在场 缺席 比较研究 

分 类 号：J205[艺术—美术]