Clive Bell's Theory of “Significant Form” and the Practice of Chinese “Void” Aesthetics in Cube Installations

• 발행기관: ACADEMIC FRONTIERS PUBLISHING GROUP(AFP)
• 저자명: Jianlin NIU
• 간행물 정보: 『Journal of Sinological Studies(JSS)』Vol.1 No.3, 29~35쪽, 전체 7쪽
• 주제분류: 인문학 > 역사학
• 파일형태: PDF
• 발행일자: 2024.09.30

국문 초록

This paper explores the aesthetic experience of “void” in Chinese art based on Clive Bell's “Art”. Bell's theory of “significant form” emphasizes that the unique arrangement of colors and lines in art evokes special aesthetic emotions. Combining the practice of white cube installation art, this study analyzes the application of Bell's theory in modern art and how three-dimensional forms embody traditional Chinese “void” aesthetics. The methodology includes theoretical analysis and practical observation. It delves into Bell's theory, examines the visual effects created by combining natural light and technological materials in white cube installations, and explores the impact of the Chinese aesthetic concept “placing white as black” on “void” aesthetics. The integration of natural light and technological materials in these installations creates unique visual experiences, contrasting the natural and technological worlds. Through these three-dimensional forms, viewers experience both visual pleasure and emotional duality: light and dark, positive and negative. The application of “placing white as black” further deepens the understanding of “void” aesthetics. The white cube installation art, with its simplicity and light-shadow interplay, conveys a profound void aesthetic, allowing viewers to engage in deep emotional resonance with the artwork in a non-utilitarian and transcendent manner. Bell's “Art” is crucial for understanding the aesthetic experience of art theory and practice, promoting the fusion of form and emotion, and expanding the symbolic aesthetic experience of contemporary art.

영문 초록

本文基于克莱夫·贝尔的《艺术》一书，探讨中国“虚无”审美感受。贝尔提出的“有意味的形式”理论强调，通过色彩和线条的独特排列，艺术作品能够激发特殊的审美感情。本文结合白色立方体装置艺术的实践，分析这一理论在现代艺术中的应用，以及如何通过三维艺术形式展现中国传统的“虚无”美学。研究方法包括理论解析与实践观察。首先，深入解析贝尔的“有意味的形式”理论；其次，通过对白色立方体装置艺术的观察与体验，探讨其在自然光影与科技材料结合下的独特视觉效果；最后，结合中国传统审美理念“计白当黑”，分析其对“虚无”美学的影响。白色立方体的自然光影与科技材料结合创造了独特的视觉体验，如树影和水波在立方体表面的投影，形成了自然与科技世界的对比。通过三维艺术形式，观者不仅能感受到视觉上的愉悦，还能体验到情绪的双面性：光明和黑暗、积极和消极。此外，中国传统审美理念“计白当黑”的应用，进一步深化了对“虚无”美学的理解。白色立方体装置艺术通过简洁的形式和光影变化，传达了深邃的虚无美学体验，使观者能够在非功利、超越日常情感的状态下，与艺术作品进行深层次的情感共鸣。贝尔的《艺术》在简要了解艺术理论与实践感悟的审美感受方面具有重要作用，促进了形式与情感的融合，拓展了现代艺术的符号化审美体验。

목차

1 前言

2 克莱夫·贝尔“有意味的形式”

3 白色立方体装置艺术的审美感受

4 中国“虚无”的审美感受

5 总结

参考文献

키워드

Installation Art Void Aesthetic Experience Significant Form 装置艺术 虚无 审美感受 有意味的形式