本文關鍵詞： 觸覺感 潛結構 分寸 時代精神 潛意識 圈子　出處：《思想戰(zhàn)線》2017年05期 　論文類型：期刊論文

【摘要】：造型藝術自然是視看的藝術,但其精義往往結穴在那些"看不見"的部分,自形式而言,造型藝術中有觸覺感的線條,畫"轉過去"的體量,計白當黑的負空間,畫面中的隱含結構與"勢""力",從最微小的筆觸、到中觀的結構、再到宏觀的風格"相反而能相成"的融合"分寸",都是"看不見"的部分。從內容而言,作品背后往往隱含著"時代精神"和藝術家"潛意識";"時代精神",尤其是時代意識形態(tài),會深入積淀到藝術家的"潛意識",對其進行內在規(guī)束與說服,形成藝術作品中本應該說出來、卻沒有說出來的一些"裂隙"與"空白",自然就成了"看不見"的部分;落實而言,藝術作品是藝術家圈子"一切社會關系的總和",凝結在作品中的某些"社會關系",也成為"看不見"的部分。由此可知,藝術學迄今有一條尚未言明的重要原理:中外造型藝術經典中"看不見"的部分,往往決定了"看得見"的部分。在今天這個機械圖像橫行的"視覺中心主義時代",我們重新思考和品味經典藝術中"看不見"的部分,對藝術學界之專業(yè)探究,以及整個社會視覺教養(yǎng)之提升,皆有饒深意義。
[Abstract]:Of course, plastic art is the art of viewing, but its essence is often in the "invisible" parts. In form, the plastic arts have tactile lines, the volume of painting "turning past," and the black negative space. The implicit structure in the picture and the "force" in the "potential" are all "invisible" parts, from the smallest strokes to the meso structure, to the integration of the macroscopic style of "mutually complementary". Behind the works are often implied the "spirit of the times" and the "subconscious mind" of the artist, and the "spirit of the times", especially the ideology of the times, will deeply accumulate into the "subconscious" of the artist, and they will be subjected to internal rules and persuasion. The formation of some "cracks" and "gaps" in works of art that should have been said, but not yet, naturally became the "invisible" part; in practice, Art works are "the sum total of all social relations" in the circle of artists, and some "social relations" condensed in the works also become "invisible" parts. There is an important principle in art that has not yet been stated: the "invisible" part of the Chinese and foreign plastic arts classics. In today's "visual centrism" era of mechanical images, we rethink and savor the "invisible" part of classical art, and explore the art profession. As well as the whole society visual upbringing promotion, all have the profound significance.
【作者單位】： 云南大學藝術與設計學院;云南大學歷史與檔案學院;
【分類號】：J205

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