【摘要】：隨著社會(huì)的發(fā)展,空間越來(lái)越引起人們的關(guān)注。20世紀(jì)以前的年代可以說(shuō)是一部時(shí)間的計(jì)數(shù)器,而當(dāng)今的時(shí)代展現(xiàn)的更多的是與空間相關(guān)的內(nèi)容�？臻g不僅僅是物理意義上的空間,它更是一個(gè)充斥著意識(shí)形態(tài)的空間。空間不是自然而然形成的,它是各種權(quán)力博弈的產(chǎn)物,受到各種利益群體的制約。 當(dāng)代對(duì)空間的研究不應(yīng)該僅僅只是停留在空間的物理層面,人們更應(yīng)該關(guān)注空間的生產(chǎn)過(guò)程。只有通過(guò)對(duì)空間社會(huì)意義的闡釋,才會(huì)看到空間的產(chǎn)生過(guò)程中各種權(quán)力關(guān)系的博弈。作為空間的一種形式,藝術(shù)品的展示空間亦是如此,藝術(shù)品的收藏、評(píng)價(jià)以及藝術(shù)品的教育功能和藝術(shù)展示空間有著密切的關(guān)系,藝術(shù)家的活動(dòng)與藝術(shù)品的展覽也是與藝術(shù)展示空間密切互動(dòng)的。對(duì)藝術(shù)品的區(qū)分不僅僅看其自身的價(jià)值,還要看其被放置的空間位置。同一物品放置的場(chǎng)所不同,其境遇和身份就會(huì)有很大的差異。 本文基于中外空間理論,把對(duì)空間的研究拓展到了藝術(shù)領(lǐng)域,通過(guò)對(duì)中國(guó)藝術(shù)展示空間的分析來(lái)展現(xiàn)各種權(quán)力關(guān)系的交織與博弈。論文第一章主要是圍繞“空間”展開的,首先介紹了空間的含義及空間理論,然后介入了展示空間這個(gè)概念。既然空間是社會(huì)關(guān)系的重要一環(huán),那么就必然存在著權(quán)力與資本。第二章在權(quán)力與資本理論的基礎(chǔ)上,著重分析了展示空間中的權(quán)力與資本,并對(duì)藝術(shù)展示空間的權(quán)力分配原則和發(fā)展進(jìn)行了論述。第三章和第四章作為本文的論述重點(diǎn),主要描述了中國(guó)傳統(tǒng)展示空間和當(dāng)代展示空間的權(quán)力分配。中國(guó)古代沒(méi)有真正意義上的公共展示空間,傳統(tǒng)展示空間主要受到皇權(quán)的影響,呈現(xiàn)出“藏”的特點(diǎn),即私密性的、與大眾相隔離的空間;但是在皇權(quán)之下有一股不可忽視的力量,即中國(guó)的知識(shí)分子,作為文人階層占據(jù)了大量的文化資本,在廟堂之外建構(gòu)了另一個(gè)雅集空間,并造就了手卷的獨(dú)特藝術(shù)展示方式。當(dāng)代展示空間因?yàn)槭艿街袊?guó)民主進(jìn)程的發(fā)展及市場(chǎng)經(jīng)濟(jì)的繁榮,無(wú)論是官方展示空間還是亞文化展示空間、私人展示空間都調(diào)整了自己的權(quán)力策略,“公共性”是其主要的特點(diǎn),呈現(xiàn)出更加復(fù)雜的權(quán)力博弈。
[Abstract]:With the development of society, space has attracted more and more attention. The era before the 20th century can be said to be a counter of time. Space is not only a space in the physical sense, but also a space full of ideology. Space is not naturally formed, it is the product of various power games, restricted by various interest groups. The contemporary study of space should not only stay on the physical level of space, people should pay more attention to the production process of space. Only through the interpretation of the social significance of space can we see the game of power relations in the process of creation of space. As a form of space, the same is true of the exhibition space of works of art. The collection, evaluation and educational function of works of art are closely related to the space of art display. The activities of artists and the exhibitions of works of art also interact closely with the exhibition space of art. The distinction between art and art depends not only on its own value, but also on the space in which it is placed. The situation and identity of the same object will vary greatly when it is placed in different places. Based on the theory of Chinese and foreign space, this paper extends the study of space to the field of art, through the analysis of the space of Chinese art display to show the interweaving and game of various power relations. The first chapter mainly focuses on "space", first introduces the meaning of space and space theory, and then gets involved in the concept of display space. Since space is an important link in social relations, there must be power and capital. On the basis of the theory of power and capital, the second chapter focuses on the analysis of power and capital in the space of display, and discusses the principle and development of power distribution in the space of artistic display. The third and fourth chapters are the emphases of this paper, which mainly describe the distribution of power between Chinese traditional display space and contemporary display space. There was no real public display space in ancient China. The traditional display space was mainly influenced by the imperial power and showed the characteristic of "hiding", namely, the private space, which was isolated from the public. However, under the imperial power there is a force that can not be ignored, that is, the Chinese intellectuals, as literati class, occupied a lot of cultural capital, constructed another elegant collection space outside the temple, and created the unique artistic display way of hand scroll. Due to the development of China's democratic process and the prosperity of the market economy, the contemporary exhibition space has adjusted its own power strategy, whether it is the official display space or the sub-cultural display space. Publicity is its main characteristic and presents a more complicated power game.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：TU242.5

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