【摘要】 图像学研究的三个层次有助于揭示木心绘画的精神形象。前图像志描述以木心绘画的阶段、意象和氛围为中心，描述其精神形象的表现基础。木心绘画从他出国前的具象风格演变为出国后的纯抽象风格。图像志分析通过木心绘画的主题与肌理来阐述其精神形象的视觉表征。木心画作的命名方式反映其主题从指涉中国古典文化转向探究现代人生终极问题。木心绘画在其单色性氛围所呈现的特有肌理空间中构筑一个贯通传统性与现代性的精神形象世界。图像学阐释可揭示木心绘画内蕴的游离性、道德性和反思性精神形象。更多还原

【Abstract】 The three levels of an iconological study help to reveal the spiritual images in Mu Xin’s paintings. The pre-iconographic description centers on the phases, imagery and atmospheres in Mu Xin’s paintings, and describes the foundation for representing the spiritual images. Mu Xin’s paintings have evolved from a figurative style before his departure from China into a purely abstract one after his departure. The iconographic analysis elaborates the visual representations of the spiritual images in Mu Xin’s paintings via their themes and textures. Mu Xin’s ways of naming his paintings reflect the thematic shift from referring to classical Chinese culture to probing into the ultimate questions of modern life. Mu Xin’s paintings construct a world of spiritual images that links up traditionality and modernity in the distinctive space of textures represented by their monochromatic atmospheres. The iconological interpretation can reveal the detaching, moral and reflective spiritual images implied in Mu Xin’s paintings.更多还原