中国书画赝品的现象学研究

发布时间：2018-04-11 05:28

本文选题：书画赝品 + 现象学　；参考：《河南大学》2013年硕士论文

【摘要】：本文针对当前中国书画赝品泛滥猖獗、书画真品与赝品真伪难辨的问题，以现象学理论为切入点，从本体和他者两个维度对其展开分析考察，既考察中国书画赝品现象的本源，，也兼顾中国书画赝品现象的他者建构。认为中国书画赝品这一现象不只是中国书画艺术市场表面的乱象反映，更要“面对实事本身”，探寻书画赝品的存在本质。文章采用逻辑推导的研究方法，在绪论部分着重考察相关中国书画赝品的研究现状，阐述本选题的意义和创新之处。全文共分三章：第一章探究中国书画赝品的存在本源。本章首先从书画赝品的概念、赝品与原作、仿品三者之间的区别和联系以及在书画市场中的自身建构追问书画赝品的身份；进而借助现象学中的时间现象探索其产生与演变，最后通过清玩和尚古文化探究书画赝品产生的人文因素。由此探究中国书画赝品这一“此在”现象。第二章结合现象学中的“他者”理论，分别从书画市场中的消费者、艺术鉴定专家和书画创作者——艺术家的视角建构中国书画赝品的“他者”形象：假、边缘、抄袭，阐明这样的建构更凸显了中国书画艺术真品在书画市场中的合法性地位，即：真、中心和原创。第三章解读中国书画赝品的存在意义。中国书画赝品在现实生活中是以其客观存在呈现的，存在即意味着客观现实性。从形象上的有“形”无“神”到投机动机的见利忘“艺”直至最后的惨痛教训，提出“贻害何穷”，即是对中国书画赝品存在的一种深刻解码。结论部分总结全文，阐明“面对实事本身”，揭示中国书画赝品的存在本质。
[Abstract]:In view of the problem that the Chinese calligraphy and painting forgery is rampant at present, and it is difficult to distinguish between the authentic and fake calligraphy and painting, this paper, from the perspective of phenomenological theory, analyzes and inspects it from the two dimensions of Noumenon and otherness, that is, to investigate the origin of the phenomenon of Chinese calligraphy and painting forgery.It also pays attention to the other construction of the phenomenon of Chinese calligraphy and painting forgeries.It is believed that the phenomenon of Chinese calligraphy and painting fakes is not only a reflection of the disorder on the surface of the Chinese calligraphy and painting art market, but also a "face to the facts itself" to explore the nature of the existence of the calligraphy and painting forgeries.In the introduction part, the author uses the method of logical derivation to investigate the current situation of the research on Chinese calligraphy and painting forgeries, and to expound the significance and innovation of this topic.The full text is divided into three chapters:The first chapter explores the origin of the existence of Chinese calligraphy and painting forgeries.This chapter first inquires into the identity of calligraphy and painting forgeries from the concept of calligraphy and painting forgeries, the differences and relations among them, and the self-construction in the market of calligraphy and painting, and then probes into their emergence and evolution with the help of the time phenomenon in phenomenology.Finally, through the Qing Dynasty to play with the ancient culture of calligraphy and painting to explore the cultural factors.From this study, this phenomenon of fake Chinese calligraphy and painting is explored.The second chapter combines the "other" theory in phenomenology to construct the "other" image of Chinese calligraphy and painting forgeries from the perspective of consumers, art experts and artists in the calligraphy and painting market, which are fake, marginal and plagiarized.This construction highlights the legitimacy of Chinese painting and calligraphy in the market, namely: true, center and original.The third chapter interprets the existence significance of Chinese calligraphy and painting forgeries.Chinese calligraphy and painting forgeries are presented in real life by their objective existence, which means objective reality.From the image of "shape" without "God" to the speculation motive to forget "art" until the last painful lesson, put forward "Yi harm what is poor", that is, the existence of Chinese calligraphy and painting fake a profound decoding.The conclusion part summarizes the full text, clarifies "face the actual matter itself", reveals the existence essence of the Chinese calligraphy and painting forgeries.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J2-29

【参考文献】