發(fā)布時間：2018-05-23 18:45

  本文選題：艷俗藝術(shù) + 大眾文化��； 參考：《華東師范大學(xué)》2010年碩士論文

【摘要】： 艷俗藝術(shù)是九十年代中后期出現(xiàn)在中國本土的一種藝術(shù)現(xiàn)象,它的出現(xiàn)頗有爭議,首先它打破了傳統(tǒng)的審美價值取向,以大眾化的意識形態(tài)為主導(dǎo)方向,用“艷麗”和“俗氣”代替了“唯美”和“崇高”,從新中國以來的大眾文化和流行文化的意義入手,以對現(xiàn)實生活的直接“模仿”為創(chuàng)作手段,重新尋找藝術(shù)的表達方式,這是在藝術(shù)領(lǐng)域大眾文化第一次向精英文化發(fā)起挑戰(zhàn)。谷子在《中國艷俗藝術(shù)背景淺析》中說艷俗藝術(shù)反映的是90年代以來中國文化的基本特征,運用夸張、平涂、光亮的廣告手法以一種暴發(fā)戶式的農(nóng)民喜慶趣味為基調(diào),站在精英文化的立場,對當(dāng)下泛濫的“艷俗文化”進行反諷和批判。 艷俗藝術(shù)有其獨特的價值取向和明顯的時代特征,它是在特定環(huán)境下雅俗共賞的產(chǎn)物,是艷俗藝術(shù)家們集體討論的產(chǎn)物,是中國傳統(tǒng)文化與西方消費文化相“碰撞”的產(chǎn)物。同時它作為90年代新出現(xiàn)的藝術(shù)潮流難免會有它的不足之處,它本身是一個“矛盾體”(大眾立場和精英立場的矛盾、俗與雅的矛盾、民族自身文化與后殖民文化的矛盾),其中最有爭議的矛盾是關(guān)于艷俗藝術(shù)的立場之爭,藝術(shù)批評家和藝術(shù)家各自持有不同的看法,甚至有的藝術(shù)家在創(chuàng)作的不同階段對艷俗藝術(shù)的立場問題也有不同的見解,在本論文中將闡述藝術(shù)評論家和藝術(shù)家本身對這個問題的態(tài)度和看法。雖然艷俗藝術(shù)團體現(xiàn)在已經(jīng)解體,但是還有一些艷俗藝術(shù)家仍然堅持自己的艷俗之路,仍然創(chuàng)作艷俗作品,艷俗創(chuàng)作還有很長的路要走。
[Abstract]:Gaudy art is a kind of artistic phenomenon that appeared in China in the middle and late 1990s. Its appearance is quite controversial. Firstly, it breaks the traditional aesthetic value orientation and takes the popular ideology as the leading direction. Replacing "beauty" and "sublime" with "showy" and "vulgar", starting with the significance of popular culture and popular culture since the new China, and taking direct "imitation" of real life as the creative means, the author tries to search for the expression of art again. This is the first time that popular culture has challenged elite culture in the field of art. Millet said in "A brief Analysis of the background of Chinese Folk Art" that it reflects the basic characteristics of Chinese culture since the 1990s. The use of exaggerated, flat and bright advertising techniques is based on an upstart peasant's jubilant taste. From the standpoint of elite culture, this paper criticizes and satirizes the prevailing "gaudy culture". The gaudy art has its unique value orientation and obvious time characteristic. It is the product of the common appreciation of elegance and common taste under the special environment, the product of collective discussion among the gaudy artists, and the product of "collision" between the Chinese traditional culture and the western consumption culture. At the same time, as a new artistic trend in the 1990s, it will inevitably have its shortcomings. It itself is a "contradiction" (the contradiction between the popular stand and the elite position, the contradiction between vulgarity and elegance). The contradiction between the national culture and the post-colonial culture, the most controversial contradiction is the dispute about the position of the vulgar art, art critics and artists have different views. Even some artists have different opinions on the position of the gaudy art at different stages of their creation. In this paper, the attitude and views of the art critics and the artists themselves on this issue will be expounded. Although the gaudy art group has now disintegrated, there are still some gaudy artists who still insist on their own road of gaudy art, and still have a long way to go to create the gaudy works.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J120.9

【參考文獻】

相關(guān)期刊論文 前2條

1 趙勇;大眾文化[J];外國文學(xué);2005年03期

2 鄒躍進;;多元的選擇——對《和而不同》展及其作品的解讀[J];美術(shù)研究;2006年01期

，

本文編號：1925893