本文選題：指意 + 物質(zhì)手段��； 參考：《文藝研究》2017年07期

【摘要】：底面、邊框和透視,常常被我們當(dāng)成圖像中透明的或想當(dāng)然的成分,或者使圖像—符號(hào)的意義生產(chǎn)得以可能的結(jié)構(gòu)性元素,實(shí)際上它們是有價(jià)值的能指,參與作品整體意義的建構(gòu)。與一般的非模仿性元素相比,它們具有明顯不同的特征:首先,它們普遍存在,是所有繪畫(huà)的基本要素;其次,它們是一種總體性構(gòu)架,不可置換,在意義的生產(chǎn)過(guò)程中是一種支配性策略;再次,它們具有可操作性,通過(guò)擺弄不同的變體,產(chǎn)生不同的語(yǔ)義。作為藝術(shù)家最簡(jiǎn)單、最基本的物質(zhì)手段,藝術(shù)家要苦心經(jīng)營(yíng)、充分挖掘其各自的指意效能,以面對(duì)每一項(xiàng)表意實(shí)踐的緊迫性。圖像對(duì)每一個(gè)表意難題的解決都蘊(yùn)含著絲毫不亞于文字表意的智慧。圖像會(huì)思考,它使我們面對(duì)圖像,又超越圖像,去把握那些不可言喻之物。
[Abstract]:The bottom, the border, the perspective, are often treated as transparent or taken for granted in images, or structural elements that make possible the production of image-symbol meaning, and they are in fact valuable signifiers.Participate in the construction of the overall meaning of the work.Compared with the general non-imitative elements, they have distinct characteristics: first, they are universal and are the basic elements of all paintings; secondly, they are a general framework that cannot be replaced.It is a dominant strategy in the process of meaning production. Thirdly, they are operable and produce different semantics by playing with different variants.As the simplest and most basic material means of artists, artists should work hard to fully tap their respective signifying efficacy in order to face the urgency of each ideographic practice.The resolution of every ideographic problem by images contains the same wisdom as that of words.Images think, they make us face images, and beyond images, to grasp the unspeakable.
【作者單位】： 南京大學(xué)藝術(shù)研究院;
【基金】：國(guó)家社科基金重大項(xiàng)目“當(dāng)代西方前沿文論研究”(批準(zhǔn)號(hào):14ZDB087)成果
【分類(lèi)號(hào)】：J0
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本文編號(hào)：1734366