本文從劉慈欣的科幻三部曲《三體》及對其的評論出發，我注意到大部分的評論皆對於他所打造的細緻的世界架構，及具有包容性的科技烏托邦（techno utopia）未來都表示高度的肯定。因此我試圖分析並指出他在《三體》世界中所刻意使用的一種「留白」技法，指出中國國畫中的「空白美學」如何作為一種東方特色。而劉慈欣以空白美學想像東方的無限可能性，是為了挑戰從歐洲（西方）殖民以來看似普世的知識生產及世界觀。然而隨著故事進展，劉慈欣的寫作逐漸呈現一種相對單一的未來想像：自由且高科技的烏托邦未來。我進一步檢視在這樣看似平等的科技烏托邦中，西方自由人文主義（modern liberalism）的概念是如何被當作一種普世價值，與高科技相輔相成，成為由東方主導的「更好的」人類未來範本。本文希望通過「空白美學」此一概念，說明並分析東方文化的想像意涵，是如何回應並提供對於未來世界可能的想像。最終在看似樂觀的且平等的「科學／科技」想像下，仍呈現對於未來世界想像中合格公民與「自由」之間的掙扎。;Most of the commentaries on Liu Cixin’s The Three-Body Problem trilogy stress the remarkable details as well as inclusive humanitarian concerns in its world-building of techno utopia. My thesis critically examines the assumed thorough world-building with a particular focus on the discussion of how Liu characterizes the East with “blank aesthetics.” In this thesis, I analyze how Liu develops the “blank aesthetics” to create the infinite possibilities of the East to challenge the West-centric epistemology. Offering a detailed reading of the literary narratives alongside critical cultural texts, I specifically discuss how Liu’s work imagines the unthinkable future with blank aesthetics to respond to the cultural imagery of the East as a possible future alternative. I argue that the infinite possibilities, however East-oriented, fall under the cultural logics of modern liberalism in which liberty, technology and citizenship are still privileged to imagine the promising future direction for the betterment of humanity.
