【摘要】 "妙在似与不似之间",是中国绘画中极为重要的美学概念。在这个"似"与"不似"审美范围的空间中,对于"似"与"不似"的定位,以及视觉艺术在空间中的各类表述的判断和理解,以坐标的方式解读中国传统绘画与西方现代艺术运动的审美轨迹,对艺术抽象概念的认识进行切片和图形的解析。中国传统绘画的坐标,将"我"与"似"融为一体的精神升华作为目标,其中的"不似"是在"五感"中从"似"纵向移动到背后"似"的过程体现。西方艺术运动的认识主体"我"在"似"的上端,以现象的方式横向向下移动,以不断否定、重建和不断共振达到坐标"我"获得精神救赎的审美目的。更多还原

【Abstract】 "The wonder from the likeness and unlikeness" is a significant esthetics concept of Traditional Chinese painting arts. In such aesthetic scope of space, how to identify "likeness" and "unlikeness" ? How to judge and understand the expression of all kinds of visual art in space? In this study, by taking the esthetic trajectory as coordinate to analyze the esthetic trajectory of traditional Chinese painting and western modern art movement, to analyze the slice and graph in the abstract concept of art. In the coordinates of traditional Chinese painting, the spiritual sublimation of the integration of "I" and "likeness" is the purpose, under which the "unlikeness" show the longitudinal shift process where "likeness" in the five senses become "likeness" at the back. The cognitive subject of western art movement--"I" which is above "likeness" moves downwards in the form of the phenomenon, to continue to deny reconstruction and resonance to achieve the aesthetic purpose that "I" gets the spiritual redemption.更多还原