中国当代艺术的边缘性美学研究

发布时间：2018-11-01 15:56

【摘要】： 西方油画艺术传入我国已有百余年历史,以林风眠为代表的现实主义(虽然中间有过几十年的断代)与以徐悲鸿为代表的现实主义始终是沿着不同方向发展的两条文化脉络。当代艺术在中国虽然经历了30年的发展,尤其是近些年发展的更加迅速,在这发展的过程中,各种各样的争议也伴随其中。在笔者看来当代艺术或者中国传统现实主义,目标主要还都是反映人在当下社会中的物质面貌或精神诉求,只不过表现方法和形式有着较大的差异,排除种种表面现象不难发现,其中心议题最重要的还是审美趋向问题这一古老话题。中国当代艺术发展仅有三十年历史,因此对于这一理论层面的研究还尚未成形,而中国在世界范围内具有特殊的地位,而且又在全球一体化这样一个特殊的时间段内,所以对此进行研究并没有太多的文化现象与之参考。众多理论工作者对这几十年的文字整理最早也只能将85美术思潮这样一次文化运动做一整理,对于当代艺术还没有给出定论。在市场经济大潮的推动下,当代艺术得到了前所未有的经济价值的认可,对其作出正确合理的艺术价值判断也提出了新的挑战与难度。笔者通过近几年的艺术实践,加以对艺术区的实地考察与走访,以及对诸多理论工作者著作的学习,通过对当代艺术在中国发展的渊源,85新潮对当代艺术发展的推动作用,当下当代艺术家发展状态,用美学的美与丑的价值评析来辨别当代艺术存在的价值,从而引申出笔者眼中当代艺术的价值与所存在问题的思考。认为通过美学的不同层面分析与中国当代艺术的比照可以对中国当代艺术在艺术价值方面做一更理性的判断,从而对中国当代艺术与中国传统现实主义做一更理性的评析。对于中国当代艺术的艺术价值判断本身是一个多方位并极其复杂的问题,通过对审美学的再考证与多层面的分析本身,笔者认为对于艺术品的价值判断与艺术本身也是很有价值的。
[Abstract]:Western oil painting art has been introduced into our country for more than 100 years. Realism represented by Lin Fengmian (although there have been decades of dynasties in the middle) and realism represented by Xu Beihong have always been two cultural threads of development along different directions. Although contemporary art in China has experienced 30 years of development, especially in recent years, the development of more rapid, in the process of this development, a variety of disputes accompanied by one. In the author's opinion, contemporary art or Chinese traditional realism is mainly aimed at reflecting the material or spiritual demands of people in the present society, but there are great differences in the methods and forms of expression. It is not difficult to find out that the central issue is the old topic of aesthetic tendency. The development of Chinese contemporary art is only 30 years old, so the research on this theoretical level has not yet taken shape, and China has a special position in the world, and in such a special period of time as global integration, Therefore, there are not too many cultural phenomena and reference to this research. Many theorists can only sort out 85 art thoughts as a cultural movement at the earliest time, but there is no final conclusion about contemporary art. Under the impetus of market economy, contemporary art has been recognized with unprecedented economic value, and the correct and reasonable judgment of art value has put forward new challenges and difficulties. Through the art practice in recent years, the author makes a field investigation and visit to the art district, studies the works of many theorists, and through the origin of the development of contemporary art in China, the role of 85 new trends in promoting the development of contemporary art. In the present development state of contemporary artists, the value evaluation of aesthetics and ugliness is used to distinguish the value of the existence of contemporary art, thus extending the thinking of the value and existing problems of contemporary art in the eyes of the author. It is believed that the comparison between Chinese contemporary art and Chinese contemporary art through the analysis of different aspects of aesthetics can make a more rational judgment on the artistic value of Chinese contemporary art and thus make a more rational assessment of Chinese contemporary art and Chinese traditional realism. Judging the artistic value of Chinese contemporary art itself is a multi-faceted and extremely complex problem. I believe that the value of art judgment and art itself is also very valuable.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J120.9

【相似文献】