Abstract: As the core concept of aesthetic research, the word “form” provokes more disagreement than consensus. As an important proposition in the study of literature and art, the relationship between form and content has triggered many debates. Returning to the “formalism” and revealing the mystery of the “form” not only meets the theoretical need to examine and respond to the problems and disputes, but also has the realistic value of facing and interpreting the change of contemporary art. Centering on the comparison of Chinese and Western formal theories, this paper first analyzes the differences in cultural thinking behind the translation of “xing” (形) and “form”, and reveals that Chinese and Western art always contains anti-form characteristics that transcend form by summarizing the ternary division logic of Chinese and Western formal theories. Finally, this paper analyzes the meaning-generating mechanism of “artistry” in contemporary art by means of formal analysis, so as to clarify the paradigmatic characteristics and theoretical utility of semiotic aesthetics in the new era.

Key words: form, formalism, contemporary art, semiotic aesthetic

摘要： 作为美学研究的核心概念,“形式”一词挑起的分歧多于共识。作为文艺研究的重要命题,“形式与内容”的关系考辨又引发诸多论争。回到“形式论”,揭开“形式”的形式之谜,既是检视并回应问题争议的理论需要,也有直面并诠释当代艺术变革的现实价值。本文以中西形式论的比较为中心,首先辨析“形”与“form” 对译背后的文化思维差异,继而通过爬梳中西形式论的三元划分逻辑,点明中西艺术始终蕴含着超越形式的反形式特征,最后以形式分析为手段,剖析当代艺术“艺术性”的意义生成机制,由此澄清新时代符号美学的范式特征与理论效用。

关键词: 形式, 形式论, 当代艺术, 符号美学