对于观看方式的思考在当代艺术中一直是最被关注的问题之一。我们该如何观看？我们能看见什么？法国哲学家米歇尔·福柯曾以“圆形监狱”的构想来比喻当下社会缺失可见性的现状。人们在这样的情况下，失去观看的自由，更是失去了交流的权力与追问的可能，人们只能在统一的观点下看待问题，得到的也只能是某种预设下的单一答案。我们是否能突破可见性的界限？是否能发挥出观看的视觉自主性？面对缺失可见性的现状，当代艺术家们不断提出问题并在创作当中寻找更多观看方式的可能性。 来自南非的当代艺术家威廉·肯特里奇通过他的作品中常使用的剪影图式语言给了我们一些解答。其作品中的剪影图式将对象以色块和轮廓的形式呈现，再通过使用多种艺术媒介与手法的混合表现，使其作品营造出具有探究性、神秘性以及诗性的视觉感受空间。因为画面没有决绝的定义具体内容信息与造型细节，反而会触发观者的视觉自主性，主动调动自身经验参与完成画面的构建，通过联想在脑海里生成属于自己的认知。 本文以艺术家威廉·肯特里奇作品中的剪影图式语言作为个案研究。探究当代插画在当代艺术语境下，使用剪影图式建构出更具开放性观看方式的可能性。因为剪影图式本身的视觉表现为扁平的色块轮廓，也没有过多的具体细节描绘，所以观者在观看过程中会不自觉调动自身的经验与情感展开想象，完成对画面内容的主动补充。在这一观看方式的过程中，剪影图式给予了观者参与的空间，是对于观者视觉自主性的肯定与支持，观众能对作品进行思考与追问，在剪影的背后得出属于自身的真实理解。这种观看不再是一种单向的传达而是变成一种双向的对话，剪影图式使观看有了互动性甚至重构作品的可能。 探究剪影图式在当代艺术语境下的视觉表现特点及背后观念的过程中，我们也会发现其对于当代插画创作的启示，如剪影图式为作品营造出神秘的叙事氛围，如扁平色块与细致描绘在画面中碰撞形成的错位时空，还有更为重要的是剪影图式通过其视觉特点建构出开放的观看方式，实现作品更多元的观念产生和对话，本文通过研究这些图式特点为当代插画创作寻找启示与指引。

How to watch is one of the most concerned problems in contemporary art? What can we see? Michel Foucault, a French philosopher, once used the concept of "round prison" to describe the current situation of lack of visibility in society. Under such circumstances, people lose the freedom to watch, and even lose the power of communication and the possibility of questioning. People can only look at problems from a unified point of view, and can only get a single answer under a certain presupposition. Can we break through the boundaries of visibility? Can we play the visual autonomy of watching? In the face of the lack of visibility, contemporary artists continue to ask questions and look for more possibilities of viewing ways in their creations. William kentrich, a contemporary artist from South Africa, often uses silhouette schemata in his works to give us some answers. The silhouette pattern in his works presents things in the form of color blocks and outlines, and then through the use of a variety of artistic media and techniques of mixed performance, his works create an ambiguous, subtle and poetic visual experience space. Because there is no absolute definition of specific content information and modeling details of the picture, it will trigger the viewer to actively mobilize their own experience to participate in the construction of the picture, and generate their own cognition in their mind through association. This paper takes the silhouette schema language in the works of artist William kentrich as a case study. To explore the possibility of using silhouette schema to construct a more open way of viewing in the context of contemporary art. Because the silhouette itself is a single flat color block outline, and there is no specific internal detail description, the viewer will unconsciously mobilize their own experience and emotion to expand imagination and complete the active supplement to the content of the picture. In the process of this way of viewing, it gives the audience the space to participate. It is