本文選題：艷俗藝術(shù) + 反諷��； 參考：《廣西師范大學(xué)》2010年碩士論文

【摘要】： 艷俗藝術(shù)作為20世紀(jì)90年代以來中國文化的特征之一而被世人廣泛關(guān)注。經(jīng)濟(jì)全球化和信息化是當(dāng)今世界經(jīng)濟(jì)和社會發(fā)展的大趨勢,不管人們是否贊成和支持,都很難改變這種客觀趨勢的存在與發(fā)展。隨著世界經(jīng)濟(jì)的一體化發(fā)展和國際交往的日益頻繁,國際文化傳播和整個世界文化格局都發(fā)生著翻天覆地的變化。在機(jī)遇和挑戰(zhàn)面前,我國經(jīng)濟(jì)保持較快發(fā)展,綜合國力不斷增強(qiáng),國際地位日益提高,我國民族文化在世界文化格局中也扮演著很重要的角色。20世紀(jì)90年代以來,隨著中國社會主義市場經(jīng)濟(jì)體制的逐步確立,引發(fā)中國社會整體的轉(zhuǎn)型,社會轉(zhuǎn)型體現(xiàn)在文化、藝術(shù)等各方面,尤其體現(xiàn)在藝術(shù)方面,表現(xiàn)最為突出的是審美文化的轉(zhuǎn)型。市場這把雙刃劍在帶來經(jīng)濟(jì)繁榮的同時也帶來了人們對人文精神的重新思考。艷俗藝術(shù)是在中國特定的政治、經(jīng)濟(jì)、文化和社會等背景下產(chǎn)生的新的藝術(shù)形式。上世紀(jì)90年代中期,中國大陸出現(xiàn)了艷俗藝術(shù)這一新的藝術(shù)形態(tài),與政治波普、玩世現(xiàn)實(shí)主義一起成為中國藝術(shù)發(fā)展的大景觀。它們不同程度地表現(xiàn)了中國文化的發(fā)展?fàn)顩r,也是國內(nèi)不同階段的藝術(shù)家對當(dāng)代文化思考的產(chǎn)物。特別是艷俗藝術(shù)的出現(xiàn),成為國內(nèi)當(dāng)代藝術(shù)家自覺自律思考問題的開始。在中國消費(fèi)文化語境下,艷俗藝術(shù)對大眾現(xiàn)實(shí)生活的思考和藝術(shù)表現(xiàn)在很多方面可能還不夠成熟,但它無疑還是切中了當(dāng)時文化的要害:世俗、對西方文化不求甚解地模仿和移植,從這一點(diǎn)來看,艷俗藝術(shù)成為中國上世紀(jì)90年代藝術(shù)的代表之一。政治波普給了艷俗藝術(shù)最大的影響和借鑒,但它以對文化大革命的記憶為基礎(chǔ),深深地打上了那個時代的烙印;以方力鈞為代表的玩世現(xiàn)實(shí)主義是那一代人對生活中無聊、空虛感受的藝術(shù)表達(dá),它的荒誕樣式對艷俗藝術(shù)有很明顯的啟發(fā)作用;卡通一代作為比艷俗藝術(shù)出現(xiàn)較晚的藝術(shù)形式,受到“艷俗”現(xiàn)象影響比較大,但由于作者自身身份的局限和地域文化的差異,只能是90年代藝術(shù)的一個分支,并不能成為一個響亮的開始。 鑒于以上艷俗藝術(shù)的重要性,本研究者在研究方法方面主要運(yùn)用文獻(xiàn)研究法。首先,通過對近些年國內(nèi)外諸多學(xué)者對20世紀(jì)90年代中國艷俗藝術(shù)所作的研究、出版著作、文獻(xiàn)資料進(jìn)行系統(tǒng)地搜集、整理,并進(jìn)行較為深刻地分析和研究,以獲取關(guān)于90年代艷俗藝術(shù)發(fā)展?fàn)顩r及其問題的研究信息。其次,圖像資料的搜集主要包括觀看與本論文主題有關(guān)的畫展和來自畫冊、美術(shù)雜志等渠道的艷俗藝術(shù)圖片。通過觀看艷俗藝術(shù)展覽和欣賞、分析圖片,進(jìn)而較深入地了解這一藝術(shù)風(fēng)格,最后提出本論文的假設(shè),運(yùn)用各種思維方法,形成自己的研究體系和框架。 本論文主要分為四個部分:第一部分,深入研究中國艷俗藝術(shù)產(chǎn)生的背景,主要從艷俗藝術(shù)產(chǎn)生的時代背景和文化背景這兩個層面進(jìn)行深入分析。時代背景包括中國消費(fèi)文化日益盛行、大眾審美傾向世俗化;文化背景包括西方藝術(shù)思潮、中國傳統(tǒng)文化和國內(nèi)當(dāng)代美術(shù)思潮。第二部分分別介紹了“艷俗藝術(shù)”的由來,較為詳盡地分析了幾位艷俗藝術(shù)家具有代表性的作品,并且從色彩、題材、材料和描繪手法各方面概括艷俗藝術(shù)作品的基本特征。艷俗藝術(shù)在色彩的使用上,向民間美術(shù)和流行文化學(xué)習(xí),采用未經(jīng)混合的基本色相(原色),高明度、高純度的顏色和強(qiáng)烈的色彩對比,達(dá)到醒目、刺激、“艷若桃花”的藝術(shù)效果,表達(dá)大眾在消費(fèi)文化影響下“農(nóng)民式的暴發(fā)趣味”。在題材上,艷俗藝術(shù)家選用較普通化、日�；�,貼近當(dāng)代普通民眾生活的典型事物符號,如蘿卜、白菜、美食大餐等。在材料的選擇上,藝術(shù)家為了更好地表達(dá)創(chuàng)作觀念,除了使用傳統(tǒng)的架上繪畫形式以外還嘗試使用民間美術(shù)和流行文化所使用的材料,如剪紙、年畫、刺繡、春聯(lián)、印染、泥塑、漆畫、陶瓷等。他們運(yùn)用平面化、廣告化的方式處理畫面,達(dá)到新年畫、新宣傳畫的視覺效果。第三部分從艷俗藝術(shù)的積極意義和消極意義兩個維度進(jìn)行評價。第四部分探討艷俗藝術(shù)對中國當(dāng)代藝術(shù)的啟示。 通過對20世紀(jì)90年代中國艷俗藝術(shù)這種典型的藝術(shù)形式進(jìn)行研究可以幫助我們對這種藝術(shù)流派的特點(diǎn)和發(fā)展?fàn)顩r等有較清晰的認(rèn)識,為中國當(dāng)代藝術(shù)的發(fā)展提供可供借鑒的經(jīng)驗(yàn)。本論文主要提出了四個觀點(diǎn):首先,艷俗藝術(shù)家既不是嚴(yán)肅的批評家更不是政治家,他們不愿意以激進(jìn)主義的態(tài)度表現(xiàn)出一副說教的面孔,也無法改變當(dāng)時的社會現(xiàn)狀和文化語境,僅僅能夠使用反諷的藝術(shù)手段使大眾麻木的神經(jīng)重新敏感起來。第二,艷俗藝術(shù)對尋求中國當(dāng)代藝術(shù)自身的發(fā)展方向進(jìn)行了初步探索。第三,艷俗藝術(shù)將日益流行的消費(fèi)文化作為中國當(dāng)代藝術(shù)關(guān)注和著重表現(xiàn)的對象。第四,消費(fèi)文化的盛行也向中國艷俗藝術(shù)的創(chuàng)作提出新的挑戰(zhàn)。
[Abstract]:Gaudy art as one of the characteristics of China culture since 1990s has been extensive attention all over the world. Economic globalization and informatization is the trend of world economic and social development, regardless of whether people agree and support, it will be very difficult to change the trend of existence and development. With the integration of world economy development and the increasingly frequent international exchanges, international cultural communication and the world cultural patterns are undergoing changes in turn the world upside down. In the face of opportunities and challenges, China's economy has maintained rapid development, comprehensive national strength and international status increasing, since our national culture plays a very important role in the.20 century 90s world cultural patterns, along with the gradual establishment China system of socialist market economy, caused the transformation China of whole society, social transformation is reflected in all aspects of culture, art, especially Reflected in the arts, the most prominent is the aesthetic and cultural transformation. Market as a double-edged sword, while bringing the economic prosperity has also brought a rethinking of the human spirit. Gaudy art is in the economic Chinese specific political, and new forms of art have a cultural and social context. In mid 90s, China, the gaudy art as a new art form, and political pop, Cynical Realism become the landscape Chinese art development. Their different degree show development Chinese culture, is also the different stages of the artists of contemporary culture, the product of thought. Especially brilliant folk art, become domestic artists self-consciously thinking began Chinese. In the context of consumer culture, gaudy art of public life thinking and artistic performance in many ways May is not mature enough, but it is the point that the culture of the western culture: secular, imitation and transplant read without thorough understanding, from this point of view, gaudy art has become one of the representatives in the 90s China century. The art of political pop to gaudy art greatly influence and reference, but it takes on culture the memory based, deeply marked with the brand of that era; with Fang Lijun as the representative of the Cynical Realism is the generation of boring life, the art expression of emptiness, absurd style it has a significant impact on gaudy art; cartoon generation as gaudy art later forms of art, influenced by "gaudy" phenomenon is relatively large, but because of differences in the limitations of the author own identity and culture, is only a branch of art in 90s, and cannot be a resounding start.
In view of the importance of gaudy art, the researchers in the study mainly through literature research method. First of all, according to the study published in recent years, many scholars at home and abroad on 1990s China gaudy art works, literature data were systematically collected, sorted, and profound analysis and research, in order to obtain Study on the development of information and problem of 90s gaudy art. Secondly, the image data collected include viewing and the related theme of the exhibition and from the pictures, art magazines channels gaudy art picture. By watching the gaudy art exhibition and appreciation, analysis of images, and then more in-depth understanding of the artistic style finally, put forward the hypothesis of this paper, using a variety of ways of thinking, form their own research system and framework.
This thesis is mainly divided into four parts: the first part, in-depth study has Chinese gaudy art background, mainly from gaudy art background and cultural background of the two aspects of in-depth analysis. The background includes Chinese consumption culture becomes more and more popular, popular aesthetic tendency of secularization; cultural background includes Western art ideas. China domestic traditional culture and contemporary art trend. The second part introduces the origin of "gaudy art", a more detailed analysis of the several gaudy artist representative works, and from the color, theme, basic characteristics of various materials and summary descriptions of gaudy art works in gaudy art. The use of color, to folk art and popular culture study, not mixed with the basic hue (color), smart, high purity color and strong color contrast, achieve eye-catching, stimulating, "If brilliant artistic effect of public expression, under the influence of the consumer culture" farmer nouveau riche ". In the theme, gaudy artists use a common, everyday, symbols, a contemporary of the common people's life such as radish, cabbage, delicacy meal. In the choice of materials. In order to better express the creative ideas of artists, in addition to using the traditional easel painting form also try to use the use of folk art and popular culture materials, such as paper cutting, New Year paintings, embroidery, printing and dyeing, couplets, clay sculpture, painting, ceramics etc.. They use the plane, the way of advertising picture, reach New Year paintings the visual effect of new posters. To evaluate the two dimensions of the third part from the positive significance of gaudy art and negative significance. The fourth part discusses the Enlightenment of Chinese gaudy art of contemporary art.
Study can help us on this art's characteristics and development conditions, have a clear understanding of the 1990s Chinese gaudy art typical art form, to provide reference for the development of China contemporary art. This paper puts forward four points of view: firstly, gaudy artists are not serious critics nor politicians, they don't want to show the attitude of radical preaching a face, can not change the social status and cultural context, can only use the art of irony means for the public to re sensitize the nerve numbness. Second, conducted a preliminary exploration for the development direction of contemporary art China lairy third. Art, gaudy art will become increasingly popular consumer culture as Chinese contemporary art attention and focus on performance. Fourth, consumer culture The popularity of it also poses new challenges to the creation of Chinese colourful art.

【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J120.9

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