本文選題：臨摹作品 + 可版權(quán)性　； 參考：《廣東財(cái)經(jīng)大學(xué)》2014年碩士論文

【摘要】：關(guān)于臨摹作品可版權(quán)性問(wèn)題的討論，無(wú)論在法學(xué)界還是在藝術(shù)界都不是一個(gè)新鮮話題。然而，由于學(xué)科限制，知識(shí)產(chǎn)權(quán)界的學(xué)者往往無(wú)法深入了解藝術(shù)品的真正內(nèi)涵，使得法學(xué)界對(duì)臨摹作品可版權(quán)性問(wèn)題的研究無(wú)異于隔靴搔癢。正因?yàn)橹R(shí)產(chǎn)權(quán)界的學(xué)者,對(duì)藝術(shù)品的理解往往流于表象，不能將版權(quán)中的獨(dú)創(chuàng)性原則與藝術(shù)品的本質(zhì)特征真正結(jié)合起來(lái)考慮,理論界難以給出正確的引導(dǎo)。從而在司法實(shí)踐中臨摹作品的版權(quán)糾紛案件的判決有偏頗之處也就再所難免。在不同的藝術(shù)品又有著各自不同的審美基本觀點(diǎn)以及他們的內(nèi)涵也存在極大的差異。其中，又以我國(guó)書法、國(guó)畫作品的特點(diǎn)最為鮮明、內(nèi)涵也最為豐富。正因如此，本文試圖以書法、國(guó)畫臨摹作品為重點(diǎn)，從書畫臨摹作品本身的特征出發(fā)，并結(jié)合獨(dú)創(chuàng)性這一享有版權(quán)的必要條件，進(jìn)而為臨摹美術(shù)作品可版權(quán)問(wèn)題的研究提供一個(gè)新的思路。并試圖提出關(guān)于臨摹作品獨(dú)創(chuàng)性判斷的，主觀標(biāo)準(zhǔn)與客觀標(biāo)準(zhǔn)。希望能為我國(guó)臨摹作品可版權(quán)問(wèn)題所面臨的理論與實(shí)踐問(wèn)題的解決略盡綿薄。 筆者將在引言部分提出我國(guó)臨摹作品可版權(quán)性問(wèn)題研究的必要性和簡(jiǎn)要分析造成當(dāng)前理論界所面臨的困境的原因，從而得出必須結(jié)合相關(guān)學(xué)科理論知識(shí)的看法。 正文第一章將簡(jiǎn)要介紹有關(guān)臨摹及臨摹作品的基本問(wèn)題，包括臨摹的概念與分類以及臨摹作品的基本特征。這是對(duì)臨摹作品可版權(quán)性問(wèn)題研究的基本前提條件；獨(dú)創(chuàng)性是世界公認(rèn)的作品享有版權(quán)的實(shí)質(zhì)條件，臨摹作品若想享有版權(quán)自然也不能例外，因此第二章的重點(diǎn)在于分析臨摹作品的獨(dú)創(chuàng)性問(wèn)題。本章第一節(jié)將介紹我國(guó)相關(guān)立法及法學(xué)界、書畫界對(duì)臨摹作品可版權(quán)問(wèn)題的看法。第二節(jié)介紹國(guó)外關(guān)于作品獨(dú)創(chuàng)性的相關(guān)理論。由于我國(guó)臺(tái)灣地區(qū)在書法、繪畫以及傳統(tǒng)文化等方面與我國(guó)有諸多相似之處，因此在第三節(jié)中將臺(tái)灣地區(qū)的相關(guān)理論單獨(dú)列出。在對(duì)不同地區(qū)的理論進(jìn)行梳理與比較分析后,結(jié)合司法實(shí)踐,筆者將確立符合一定條件的臨摹作品可以享受版權(quán)的基本立場(chǎng)。本文第三章，將在第一、二章分析的基礎(chǔ)上，結(jié)合三則臨摹作品版權(quán)侵權(quán)糾紛案例，嘗試提出判斷臨摹作品獨(dú)創(chuàng)性的主觀標(biāo)準(zhǔn)與客觀標(biāo)準(zhǔn)。并對(duì)專家證人制度的引進(jìn)提出自己的看法。第四章將結(jié)合臨摹作品的特殊性，提出對(duì)臨摹作品的版權(quán)保護(hù)以及權(quán)利限制。結(jié)論部分本文將從前文的分析中得出對(duì)臨摹作品的可版權(quán)性問(wèn)題只能在遵循以獨(dú)創(chuàng)性原則為中心結(jié)合藝術(shù)品基本審美觀點(diǎn)的基礎(chǔ)上，具體問(wèn)題具體分析的基本看法，以及從現(xiàn)階段看將其定位為改編作品較為合適的基本觀點(diǎn)。
[Abstract]:The discussion on copyrights of copying works is not a new topic in the field of law or art. However, because of the discipline restriction, the intellectual property scholars often can not understand the real connotation of the art in depth, which makes the study of the copyrights of copying works in the legal circles no different from scratch. Just because the scholars in the intellectual property field, the understanding of the art often flows on the appearance, can't really combine the originality principle of copyright with the essential characteristic of the work of art, so it is difficult to give the correct guidance in the theory circle. Therefore, in judicial practice, the judgment of copyright dispute cases of copying works is biased. In different works of art, there are different basic aesthetic viewpoints and their connotations. Among them, Chinese calligraphy, traditional Chinese painting works of the most distinctive characteristics, the most rich connotations. For this reason, this paper attempts to focus on calligraphy and Chinese painting copying works, starting from the characteristics of calligraphy and painting copying works, and combining with originality, which is a necessary condition for copyright. Then it provides a new idea for the study of copyrights of copying art works. And try to put forward the original judgment of copying works, subjective and objective criteria. The author hopes to solve the theoretical and practical problems of copyrights of copyrighted works in China. In the foreword, the author will put forward the necessity of studying the copyright of copying works in our country and briefly analyze the reasons that cause the predicament of the current theoretical circle, so as to draw the conclusion that it is necessary to combine the theoretical knowledge of relevant disciplines. The first chapter will briefly introduce the basic problems of copying and copying works, including the concept and classification of copying and the basic characteristics of copying works. This is the basic prerequisite for the study of copyrights of copying works; originality is the essential condition for copyright enjoyment of works recognized in the world, and copying works are no exception if they want to enjoy copyright. Therefore, the second chapter focuses on the analysis of the originality of copying works. The first section of this chapter will introduce our country's relevant legislation and the law circles, the calligraphy and painting circles to copy the work may the copyright question. The second section introduces the relevant theories about the originality of works abroad. Because there are many similarities in calligraphy, painting and traditional culture between Taiwan and China, the relevant theories of Taiwan are listed separately in the third section. After combing and comparing the theories of different regions and combining with judicial practice, the author will establish the basic position that copyrights can be enjoyed by copying works which meet certain conditions. In the third chapter, based on the analysis of the first and second chapters, combined with three cases of copyright infringement disputes, this paper tries to put forward the subjective and objective criteria for judging the originality of copying works. And the introduction of expert witnesses system put forward their own views. The fourth chapter will combine the particularity of copying works, put forward copyright protection and rights restriction to copying works. The conclusion part of this thesis will draw the conclusion from the previous analysis that the copyright problem of copying works can only be analyzed on the basis of following the principle of originality and combining with the basic aesthetic viewpoint of art, and the concrete problems can be analyzed concretely. And from the current point of view that it is more suitable for the adaptation of the basic point of view.
【學(xué)位授予單位】：廣東財(cái)經(jīng)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：D923.41

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