论造型艺术中“看不见”的部分

The “Invisible” Parts in Plastic Arts

造型艺术自然是视看的艺术,但其精义往往结穴在那些"看不见"的部分,自形式而言,造型艺术中有触觉感的线条,画"转过去"的体量,计白当黑的负空间,画面中的隐含结构与"势""力",从最微小的笔触、到中观的结构、再到宏观的风格"相反而能相成"的融合"分寸",都是"看不见"的部分。从内容而言,作品背后往往隐含着"时代精神"和艺术家"潜意识";"时代精神",尤其是时代意识形态,会深入积淀到艺术家的"潜意识",对其进行内在规束与说服,形成艺术作品中本应该说出来、却没有说出来的一些"裂隙"与"空白",自然就成了"看不见"的部分;落实而言,艺术作品是艺术家圈子"一切社会关系的总和",凝结在作品中的某些"社会关系",也成为"看不见"的部分。由此可知,艺术学迄今有一条尚未言明的重要原理:中外造型艺术经典中"看不见"的部分,往往决定了"看得见"的部分。在今天这个机械图像横行的"视觉中心主义时代",我们重新思考和品味经典艺术中"看不见"的部分,对艺术学界之专业探究,以及整个社会视觉教养之提升,皆有饶深意义。

Plastic arts are certainly visual arts, but their essence often lies in those ＂ invisible＂ parts. In terms of form, plastic arts contain tactile lines, modeling of depicted volume, the negative space created by ＂considering white or blank as black＂ , the hidden structure as well as the movement and strength in the depicted images. The propriety of the complementary opposites in the micro strokes, the meso structure and the macro style all belongs to the ＂invisible＂ part. In terms of content, artistic works often carry zeitgeist and the subconscious of the artists. Zeitgeist, especially the ideology of the time, will be so accumulated in the subconscious of the artists that it will constrain and convince them intangibly. It will form some ＂ cracks＂ and ＂ blanks＂ in the works that should have been filled in. Those ＂cracks＂ and ＂blanks＂ naturally become part of the invisible. In a sense, artistic works are the ensemble of social relations of the artistic circles. Some of the ＂ social relations＂ represented in the works are invisible, too. Thus, there has been an unspoken principle in the study of arts： the invisible in both Chinese and foreign plastic art classics always determines the visible. In an age of ＂ optical cen- tralism＂ dominated by mechanical graphics, we need to review the invisible in classic art works, which will be of great significance to professional artistic probes and to improvement of the whole society＇s taste for art works.