對中國當(dāng)代雕塑中“符號化”現(xiàn)象的思辨
發(fā)布時(shí)間：2019-05-24 01:23
【摘要】：在當(dāng)代藝術(shù)已經(jīng)頗為泛濫的今天,社會文化無論發(fā)展到怎樣的一個(gè)高度,制度與習(xí)慣、價(jià)值與審美始終都不會脫軌。而在中國,一些前現(xiàn)代社會急待解決的封建與半封建的社會實(shí)狀,如民主平權(quán)、言論自由、機(jī)會均等與程序公正等均無所落實(shí),然后卻掀起大躍進(jìn)一般的當(dāng)代藝術(shù)革命。其結(jié)果必然是靠不住的,例如一些中國藝術(shù)家面對后工業(yè)文明的當(dāng)代矛盾,試圖運(yùn)用中國傳統(tǒng)的“天人合一”“五行八卦”等理念來解決。而這種解決方法必定是脫節(jié)、片面的,其目的無非是想體現(xiàn)中華傳統(tǒng)文化優(yōu)越于西方現(xiàn)代文化,筆者認(rèn)為這是虛榮心作祟的結(jié)果。 筆者必須強(qiáng)調(diào)的是:中國的當(dāng)代藝術(shù)包括當(dāng)代雕塑有別于西方現(xiàn)代主義、后現(xiàn)代藝術(shù),因?yàn)橹袊狈ΜF(xiàn)代文明的實(shí)踐基礎(chǔ),他只擁有現(xiàn)代化工具而不具有現(xiàn)代文明的意識理念。所以,中國當(dāng)代藝術(shù)思想與藝術(shù)變相為一種保守復(fù)古主義。西方現(xiàn)代文明所面臨的矛盾,幾乎成了中國民族主義炫耀中國優(yōu)越性的資本。以“黃老孔孟”和“天人合一”的思想不可能完全解決當(dāng)代社會及藝術(shù)的實(shí)質(zhì)問題。 而中國當(dāng)代藝術(shù)包括當(dāng)代雕塑所表現(xiàn)出的急躁冒進(jìn),催生了對現(xiàn)代文明不切實(shí)際的虛幻要求——對西方的過度迷信,西方現(xiàn)代主義或后現(xiàn)代主義成為一種解決中國社會問題的強(qiáng)心劑,它呈現(xiàn)出一種表面化的空洞儀式,并不能構(gòu)成社會精神思想的實(shí)質(zhì)。那些貌似前衛(wèi)的思想家與藝術(shù)家,而他們的真正主導(dǎo)思想還是傳統(tǒng)的“黃老孔孟”、“天人合一”。思想主張與實(shí)踐行為的矛盾,往往使一切思想與藝術(shù)走向徹底空洞化。 文章首先通過對中國當(dāng)代雕塑的發(fā)展,存在的問題,特征等梳理,對中國當(dāng)代雕塑做了一個(gè)較為全面的介紹。然后通過歷史上東西文化、雕塑的交流傳播,到近現(xiàn)代西方文化藝術(shù)對東方文化藝術(shù)的刺激、入侵,闡述現(xiàn)當(dāng)代文化藝術(shù)交流的不平等性。而正是這種不平等性。造成了中國當(dāng)代藝術(shù)家、雕塑家心里上的失衡。自卑感、民族主義、民族虛榮心等心態(tài)油然而生。而心態(tài)的失衡倒置了雕塑作品空洞、乏味、缺乏真情實(shí)感。雕塑作為藝術(shù)的一種形式,而藝術(shù)作為一種社會意識形態(tài),必須與其社會、經(jīng)濟(jì)、政治格局等方面發(fā)展相一致。在西方,當(dāng)代藝術(shù)的繁榮是與當(dāng)代社會的需要完全一致的。而中國的現(xiàn)狀,在表面上看似乎已經(jīng)進(jìn)入了當(dāng)代,其實(shí)仍然停留在“前當(dāng)代”的水平上。在硬件和形式上,中國進(jìn)入當(dāng)代的速度是飛快的,而不是本質(zhì)的內(nèi)在的需要,換句話說,中國的當(dāng)代藝術(shù)形象是靠外力推動并塑造而成的。 所以說,中國當(dāng)代雕塑表面的紅火現(xiàn)象應(yīng)該值得我們冷靜的反思。長久、健康、良性循環(huán)的當(dāng)代雕塑作品是我們所期待的,而要想中國當(dāng)代雕塑長期健康的發(fā)展,或者說如何使中國當(dāng)代雕塑真實(shí)的表現(xiàn)當(dāng)下豐富的社會從而真正的進(jìn)入公眾,便成為當(dāng)下急需解決的問題。否則,中國的當(dāng)代雕塑甚至是當(dāng)代藝術(shù)不可能真正的實(shí)現(xiàn)其社會性目的。因此,筆者認(rèn)為中國的當(dāng)代雕塑家更為重要的是應(yīng)把自己視為公眾的一員,而不是高高在上的,要用平等的視角去深切關(guān)注公共共同的生存經(jīng)驗(yàn),然后從中提煉出相關(guān)的藝術(shù)觀念與表達(dá)方式。
[Abstract]:In today's contemporary art, the social culture, regardless of the height, the system and the custom, the value and the aesthetic, has never been derailed. In China, the feudal and semi-feudal social reality, such as democracy, freedom of expression, equal opportunity and procedural justice, which is urgently to be solved by some former modern society, has not been implemented, and then a great leap forward to the general contemporary art revolution. The result is inevitable, for example, some Chinese artists face the contemporary contradiction of the post-industrial civilization, and try to solve the traditional Chinese "unity of man and man" of "five elements of the five elements" and so on. The solution must be disjointed and one-sided. The purpose of this paper is to show that the traditional Chinese culture is superior to the western modern culture, and the author thinks that this is the result of the vanity. The author must stress that contemporary Chinese contemporary art includes contemporary sculpture, which is different from the western modernism and post-modern art. On the basis of China's lack of the practical foundation of modern civilization, he only has a modern tool and does not have the consciousness of modern civilization. Therefore, the Chinese contemporary art thought and art are a kind of conservative antiquity. The spears of the western modern civilization The shield is almost the capital of Chinese nationalism to show off the superiority of China. The "the Old Man and the Mencius" and "unity of man and man" 's ideas can't completely solve the essence of contemporary society and art The Chinese contemporary art includes the urgency of the contemporary sculpture. The impulsiveness of the impracticality of the modern civilization has led to the impracticality of the modern civilization. The excessive superstition in the west, the western modernism or the post-modernism become a powerful agent for solving the social problems in China, and it presents a surface-based void. The ceremony of the hole can not form the essence of the thought of the social spirit. Those who seem to be avant-garde thinkers and artists, and their real dominant ideas or the traditional "the Old Man and the Mencius", the "unity of man and man", the ideas and the practice behavior. The contradiction between the thought and the art is often made to be thorough The article first makes a more comprehensive introduction to the contemporary Chinese sculpture by combing the development of contemporary Chinese sculpture, the existing problems and features, and then through the history, culture and sculpture. The communication between the Chinese contemporary artists and the sculptors has been caused by the inequity of the contemporary Chinese artists and the sculptors. The imbalance of the state of mind is the form of art, and art as a kind of social ideology, and it must be the form of art, and the art is a kind of social ideology. In the west, the prosperity of contemporary art is completely consistent with the needs of the contemporary society, and the current situation of China, which seems to have entered the present time on the surface, still remains at the level of the "the former contemporary". In the form of pieces and forms, the speed of China's entry into the modern world is fast, not the intrinsic need of nature, in other words, the Chinese contemporary art image is driven by an external force and As a result, the phenomenon of the red fire on the surface of contemporary Chinese sculpture should be worth our coolness. The contemporary sculpture of long-term, healthy and virtuous circle is what we are looking forward to, and want to think of the long-term healthy development of contemporary Chinese sculpture, or how to make the contemporary sculpture of China truly represent the current society, so that the real entry of the public has become an urgent need for the present Otherwise, contemporary Chinese sculpture is even impossible for contemporary art to achieve its social purpose. Therefore, the author thinks that the contemporary sculptor in China is more important to consider itself as a member of the public. It's not high. It's going to be an equal point of view to pay close attention to the common life experience, and then to extract the relevant art from it.
【學(xué)位授予單位】：廣西藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J305
本文編號：2484424
[Abstract]:In today's contemporary art, the social culture, regardless of the height, the system and the custom, the value and the aesthetic, has never been derailed. In China, the feudal and semi-feudal social reality, such as democracy, freedom of expression, equal opportunity and procedural justice, which is urgently to be solved by some former modern society, has not been implemented, and then a great leap forward to the general contemporary art revolution. The result is inevitable, for example, some Chinese artists face the contemporary contradiction of the post-industrial civilization, and try to solve the traditional Chinese "unity of man and man" of "five elements of the five elements" and so on. The solution must be disjointed and one-sided. The purpose of this paper is to show that the traditional Chinese culture is superior to the western modern culture, and the author thinks that this is the result of the vanity. The author must stress that contemporary Chinese contemporary art includes contemporary sculpture, which is different from the western modernism and post-modern art. On the basis of China's lack of the practical foundation of modern civilization, he only has a modern tool and does not have the consciousness of modern civilization. Therefore, the Chinese contemporary art thought and art are a kind of conservative antiquity. The spears of the western modern civilization The shield is almost the capital of Chinese nationalism to show off the superiority of China. The "the Old Man and the Mencius" and "unity of man and man" 's ideas can't completely solve the essence of contemporary society and art The Chinese contemporary art includes the urgency of the contemporary sculpture. The impulsiveness of the impracticality of the modern civilization has led to the impracticality of the modern civilization. The excessive superstition in the west, the western modernism or the post-modernism become a powerful agent for solving the social problems in China, and it presents a surface-based void. The ceremony of the hole can not form the essence of the thought of the social spirit. Those who seem to be avant-garde thinkers and artists, and their real dominant ideas or the traditional "the Old Man and the Mencius", the "unity of man and man", the ideas and the practice behavior. The contradiction between the thought and the art is often made to be thorough The article first makes a more comprehensive introduction to the contemporary Chinese sculpture by combing the development of contemporary Chinese sculpture, the existing problems and features, and then through the history, culture and sculpture. The communication between the Chinese contemporary artists and the sculptors has been caused by the inequity of the contemporary Chinese artists and the sculptors. The imbalance of the state of mind is the form of art, and art as a kind of social ideology, and it must be the form of art, and the art is a kind of social ideology. In the west, the prosperity of contemporary art is completely consistent with the needs of the contemporary society, and the current situation of China, which seems to have entered the present time on the surface, still remains at the level of the "the former contemporary". In the form of pieces and forms, the speed of China's entry into the modern world is fast, not the intrinsic need of nature, in other words, the Chinese contemporary art image is driven by an external force and As a result, the phenomenon of the red fire on the surface of contemporary Chinese sculpture should be worth our coolness. The contemporary sculpture of long-term, healthy and virtuous circle is what we are looking forward to, and want to think of the long-term healthy development of contemporary Chinese sculpture, or how to make the contemporary sculpture of China truly represent the current society, so that the real entry of the public has become an urgent need for the present Otherwise, contemporary Chinese sculpture is even impossible for contemporary art to achieve its social purpose. Therefore, the author thinks that the contemporary sculptor in China is more important to consider itself as a member of the public. It's not high. It's going to be an equal point of view to pay close attention to the common life experience, and then to extract the relevant art from it.
【學(xué)位授予單位】：廣西藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J305
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