图像中的表象与思想——艺术视野下的文字与图像关系研究

Representation and Thought in Images:A Study of the Relationship between Words and Images from an Artistic Perspective

图像的思想来源于图像表象所表征的事物本身的意义,以及艺术家主观因素的渗入。图像的意义产生于图像与观众的互动。图像表象本身的规定性为图像意义的产生提供基础与依据,观众的阐释使图像的意义从潜在成为现实。与王弼的“得意忘象,得象忘言”不同,在图像中,象终始是居于主导地位的,意需要通过象才能得到,观众得意之后无法“忘象”。艺术家的主观因素渗入图像是一种有意识的行为,表现在艺术家的观察、构思、表现等阶段。艺术家可以通过突出图像所表现事物的文化内涵、适当地类型化、突出特定的语境等方法,突出图像中的某些思想。图像的表象与文字建构的形象在表达思想上存在一定的差异。这种差异表现在图像表象无法表现非视觉性的生活现象、图像无法通过其构建材料表达思想、和图像表达的思想没有文学形象那样明确与清楚。

The inbuilt thought of images comes from the meaning of things represented by images and also from the initiation of artist’s subjectivity. The meaning of image emerges from the interaction between image and audience. The prescriptive nature of image’s presentation becomes the source to generate image’s meaning, while the interpretation of the audience actualizes the implicit meaning. In images, visuality is always dominant from which meaning is generated and the audience captures the meaning and keeps the visuality. The initiation of subjectivity into image is artists’ conscious action, as is reflected in their observation, conceptualization, and performance. Artists can foreground certain thoughts in images by highlighting the cultural connotation of the things represented, stylizing and specifying the contexts of the images. There is difference in the expression of thought between the presentation of images and the figurative representation constructed through language, and the difference can be described in three ways. First, the visuality of image is unable to represent non-visual phenomena in life. Secondly, image is unable to express thought through its materialitys. Thirdly, the thought presented by visual images is not as clear as that expressed by literary images.