抽象艺术具身化：孟禄丁审美心智的认知延展与具身转向

• 作者： 支宇 ¹
• 作者单位：
  1.  四川大学
• 发布时间：2025-02-17

摘要: 　自 20 世纪 80 年代以来，孟禄丁在中国艺术界多以“纯化语言”和抽象艺术“离
身美学”的代言人形象出场。事实上，孟禄丁抽象艺术的话语方式是“具身的”（embodied）
而非“离身的”（disembodied）。从当代认知美学角度看，孟禄丁抽象艺术具有三重知觉
维度：“人机交互”而非“机械设定”、“文脉嵌入”而非“情境抽离”、“媒介延展”
而非“材料固化”。也就是说，孟禄丁艺术经历了从“离身美学”到“审美具身化”的知
觉转向，“抽象艺术具身化”才是其抽象艺术的核心理念与知觉进路。

Abstract: Since the 1980s, Meng Luding has appeared in Chinese art circle as "the
purification of language" and "detached aesthetics" of abstract art. In fact, the discourse of
Meng Luding’ art is embodied rather than disembodied. From the perspective of cognitive
aesthetics, Meng Luding's abstract art has three dimensions of perception: "human-computer
interaction" rather than "mechanical setting", "context embedding" rather than "situational
isolation", and "media extension" rather than "material solidification". In other words, the art
of Meng Luding has experienced a perceptual turn from "disembodied aesthetics" to "embodied
aesthetics". The "embodiment of abstract art" is the core idea and perceptual approach of his
abstract art.

• 分类： 艺术学 >> 艺术学理论
• 稿件状态： 已在期刊出版
期刊名称： 《当代美术家》 2025年 第1期
• 引用： PSSXiv:202502.00886 (或此版本 PSSXiv:202502.00886V1)
  DOI:10.12451/202502.00886
  CSTR:32012.36.PSSXiv202502.00886
• 推荐引用方式： 支宇.抽象艺术具身化：孟禄丁审美心智的认知延展与具身转向.当代美术家,2025(1).[PSSXiv:202502.00886V1] (点此复制)