底面、边框和透视,常常被我们当成图像中透明的或想当然的成分,或者使图像—符号的意义生产得以可能的结构性元素,实际上它们是有价值的能指,参与作品整体意义的建构。与一般的非模仿性元素相比,它们具有明显不同的特征:首先,它们普遍存在,是所有绘画的基本要素;其次,它们是一种总体性构架,不可置换,在意义的生产过程中是一种支配性策略;再次,它们具有可操作性,通过摆弄不同的变体,产生不同的语义。作为艺术家最简单、最基本的物质手段,艺术家要苦心经营、充分挖掘其各自的指意效能,以面对每一项表意实践的紧迫性。图像对每一个表意难题的解决都蕴含着丝毫不亚于文字表意的智慧。图像会思考,它使我们面对图像,又超越图像,去把握那些不可言喻之物。 Bottoms, borders, and perspectives are often used by us as transparent or plausible components of the image or as possible structural elements in the production of the image-notion of meaning, in fact they are valuable signifiers involved in the construction of the overall meaning of the work . They have distinctly different characteristics from the general non-mimetic elements: firstly, they are ubiquitous and are the basic elements of all painting; secondly, they are a general framework that is not replaceable and in the production of meaning A dominant strategy; again, they are maneuverable and produce different semantics by playing different variations. As the artist’s simplest and most basic material means, artists should work hard and fully exploit their respective meanings to face the urgency of every intentional practice. The resolution of every ideographic problem in the image implies as much wisdom as the expression of the word. Images will think, it allows us to face the image, but also beyond the image, to grasp those unspeakable things.