中西方的碰撞—论当代艺术中的跨文化交际

发布时间：2018-03-14 08:00

本文选题：跨文化交际　切入点：当代艺术　出处：《上海外国语大学》2009年硕士论文　论文类型：学位论文

【摘要】： 跨文化交际及跨文化现象是现代社会不容忽视的一个特征。它存在于社会各领域,比如商业交往,教育交流,及当代艺术。艺术是文化的产物,二者关系密切,不可分割。纵观历史,整个中国当代艺术的发展过程,其实也是一个跨文化交流的过程。从最初的技法影响,到八九十年代艺术家的出国热,中西方文化之间的交流从未间断。无数的艺术家走出国门去追寻更广阔空间,一些取得了成功,一些遗憾地失败。他们成功或失败的原因何在?艺术家事业上的成功与他们的跨文化交际能力和文化敏感度有什么样的关系?近年来,中国当代艺术在国际上备受瞩目,中国艺术家的作品屡创天价。而随着全球经济危机的蔓延,当代艺术的泡沫有所破灭,人们开始更清醒地思索中国当代艺术的出路与发展方向,当代艺术市场如何在海内外资本较量中健康成长,在中西方文化的碰撞中,中国艺术怎样在敞开胸怀多元化发展的同时保持中华文化的精粹等问题是人们关注的焦点。本文即是对以上问题的探索。本文以定性分析为主,辅以定量分析。首先分析了中国当代艺术的发展历程及跨文化因素在其中的作用,说明当代艺术是跨文化交流与文化碰撞融合的结果。第四章研究比较了三位知名艺术家:蔡国强,陈丹青和何多苓。蔡国强是移居海外并长期在国外发展的艺术家代表,陈丹青代表了在海外生活了一段时期而后归国的一类艺术家,何多苓则代表了始终留在国内发展的艺术家。研究对比表明,三人的收藏群体和主要受众均有所差别,在海外发展的艺术家,在整体发展上拥有相对来说更为广阔的空间,而其国际化的收藏群体,则是高价的坚实后盾。但在国内发展的艺术家,由于其对中国文化的深刻表达及对本土生活情感等的贴近性,拥有更庞大的国内受众。同时,在当代艺术中,存在着“中国符号”及“去中国化”两种论调,笔者认为,既不能让中国符号成为中国艺术的全部,也不能一概否定之。艺术的本身,在于用开放的态度,包容的心态和不断创新的精神,来表达人类对真善美的追求。
[Abstract]:Cross-cultural communication and cross-cultural phenomena are a feature of modern society that can not be ignored. They exist in various fields of society, such as business exchanges, educational exchanges, and contemporary art. Art is the product of culture, and the two are closely related. Throughout history, the entire development of contemporary Chinese art has also been a process of cross-cultural exchange. From the initial influence of techniques to the craze of artists in the 1980s and 1990s, The exchanges between Chinese and western cultures have never stopped. Countless artists have gone abroad to pursue a broader space. Some have succeeded and some have unfortunately failed. What are the reasons for their success or failure? What is the relationship between the success of artists' career and their intercultural communication ability and cultural sensitivity? In recent years, Chinese contemporary art has attracted much international attention, and the works of Chinese artists have repeatedly set skyrocketing prices. With the spread of the global economic crisis, the bubble of contemporary art has burst. People begin to think more soberly about the way out and development direction of Chinese contemporary art, how the contemporary art market can grow healthily in the competition of capital at home and abroad, and in the collision of Chinese and western cultures. How to keep the essence of Chinese culture while opening the mind to the development of diversity is the focus of people's attention. This paper is an exploration of the above problems. This paper focuses on qualitative analysis. First of all, it analyzes the development of Chinese contemporary art and the role of cross-cultural factors in it. Chapter 4th studies and compares three well-known artists: Cai Guoqiang, Chen Danqing and he Duoling. Cai Guoqiang is a representative of artists who emigrate and develop abroad for a long time. Chen Danqing represents a class of artists who have lived abroad for a period and then returned to China, while he Douling represents artists who have always remained in China for development. Research and comparison shows that the three people have different collections and major audiences. Artists who have developed overseas have a relatively broader space for overall development, while their international collection groups are solid backing for high prices. But artists developed in China, Because of its deep expression of Chinese culture and its closeness to local life, it has a larger domestic audience. At the same time, in contemporary art, there are two kinds of theories: "Chinese symbol" and "deChina-ization". The art itself is to express mankind's pursuit of truth, goodness and beauty with an open attitude, a tolerant mind and a spirit of constant innovation.
【学位授予单位】：上海外国语大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J124;G04

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