本文選題：新水墨藝術(shù)　切入點(diǎn)：中國傳統(tǒng)書畫藝術(shù)　出處：《西南大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：新水墨藝術(shù)并不是特指某一種風(fēng)格或者類型的水墨畫,也不單純是指受到西方當(dāng)代藝術(shù)影響、通過藝術(shù)家的觀念進(jìn)行水墨方式而生成的水墨圖像。新水墨藝術(shù)是處于邊緣地位的當(dāng)代水墨藝術(shù)表達(dá)方式,它包含著新的水墨媒材、水墨觀念、水墨表達(dá)方式和新的水墨概念以及非架上的水墨行為。新水墨藝術(shù)家們對藝術(shù)作品的創(chuàng)作和進(jìn)行非架上的水墨行為是為了要打破傳統(tǒng)的書畫藝術(shù)格局。上世紀(jì)八十年代新墨水藝術(shù)嶄露頭角,到了九十年代中后期,短短的十幾年間,新水墨藝術(shù)的發(fā)展突飛猛進(jìn),從一開始不被大眾認(rèn)可到逐漸被接受直至開始出現(xiàn)在全國各地的各級藝術(shù)機(jī)構(gòu)和各級學(xué)術(shù)展覽會上,同時也進(jìn)入大小不同的拍賣網(wǎng)站和拍賣機(jī)構(gòu)。很多藝術(shù)家開始認(rèn)同新水墨的研究成果,并且將這種水墨成果應(yīng)用于自己的繪畫創(chuàng)作當(dāng)中。到了二十世紀(jì)初期,新水墨的藝術(shù)格局開始紛繁多樣,展現(xiàn)出多元化的特點(diǎn),并且走向成熟。由于美術(shù)界對新水墨的了解甚少,因此關(guān)于新水墨研究的著作還是空白,盡管有些先鋒藝術(shù)評論家寫過關(guān)于新水墨的文章,但是這些文章都是短評性的,沒有形成系統(tǒng)的理論框架。本文的主要研究對象是新水墨出現(xiàn)的原因和它的審美特征。對于新水墨的成因研究,筆者將要從兩個方面進(jìn)行分析。第一方面,是客觀方面,筆者分析了當(dāng)時的社會背景,發(fā)現(xiàn)西方現(xiàn)代主義藝術(shù)在我國國內(nèi)傳播廣泛,在一定程度上影響了我國傳統(tǒng)水墨的發(fā)展格局,使新水墨藝術(shù)的出現(xiàn)成為可能;第二方面,是主觀方面,新水墨藝術(shù)家在受到西方當(dāng)代藝術(shù)的影響后,開始了對自我的反省;作為藝術(shù)受眾的人民大眾,隨著社會背景和文化語境的轉(zhuǎn)型,審美心理也開始有了變化。在對新水墨審美特性進(jìn)行思考時,筆者主要從比較的維度,將當(dāng)下出現(xiàn)的新水墨與傳統(tǒng)水墨進(jìn)行對照,在對比的同時,選取了一些具有代表性的畫家,對他們的創(chuàng)作理念和藝術(shù)作品進(jìn)行評析。根據(jù)筆者的研究,新水墨的審美特征表現(xiàn)在下面幾點(diǎn):1、消解了“筆墨中心”,削弱了筆墨在藝術(shù)作品的地位;2、水墨精神的承載方式發(fā)生變化,以往承載著藝術(shù)家精神的題材僅用一些幾何符號就可以表達(dá);3、繪畫風(fēng)格由具象變得抽象;4、藝術(shù)家和審美受眾的審美觀念變得世俗化,審美心理隨著審美觀念的變化也變得紛繁復(fù)雜。在水墨逐漸當(dāng)代化的過程中,新水墨在不斷地證實自己是能夠承載本土文化價值的一種水墨藝術(shù)、水墨觀念。新水墨藝術(shù)也能夠發(fā)揮其自身優(yōu)勢和獨(dú)特的審美特征使之具有進(jìn)入當(dāng)下的可能性。筆者希望通過對新水墨藝術(shù)的研究,為新水墨藝術(shù)能夠在保留自身獨(dú)立的、本土性的文化身份的同時,也能夠拓展當(dāng)代水墨藝術(shù)空間,同時又能夠影響其它本土的非水墨藝術(shù)追隨時代的ki伐,提供參考以及思想上的啟示。
[Abstract]:New ink art is not a particular style or type of ink painting, nor is it simply influenced by contemporary Western art. New Ink Art is an expression of contemporary ink art on the edge, which contains new ink media, water and ink ideas. The expression of ink and the new concept of ink and ink off the shelf. New ink artists to create works of art and off-the-shelf ink behavior in order to break the traditional painting and calligraphy art pattern. 0th century 8. The New Ink Art of the Ten's came to the fore, In the middle and late period of 90s, in a short period of ten years, the development of the new ink and wash art developed by leaps and bounds, from not being recognized by the public at the beginning to gradually being accepted until it began to appear at all levels of art institutions and academic exhibitions throughout the country. At the same time, they also entered auction websites and auction agencies of different sizes. Many artists began to identify with the research results of the new ink and wash, and applied this kind of ink to their paintings. By the beginning of 20th century, The art pattern of new ink is beginning to be numerous and diverse, showing the characteristics of diversification, and becoming mature. Because the art circles know little about new ink, the works on the study of new ink are still blank. Although some vanguard art critics have written articles about new ink, they are all of a short nature. There is no systematic theoretical framework. The main research object of this paper is the reasons for the emergence of new ink and its aesthetic characteristics. The author will analyze the causes of new ink from two aspects. The author analyzed the social background at that time, found that the western modernism art spread widely in our country, to some extent influenced the development pattern of the traditional ink and wash in our country, made the appearance of the new ink and wash art possible; the second aspect, On the subjective side, after being influenced by contemporary western art, the new ink and wash artists began to reflect on themselves. As an art audience, the masses of the people, along with the transformation of social background and cultural context, The aesthetic psychology has also begun to change. When thinking about the aesthetic characteristics of the new ink, the author compares the new ink with the traditional ink from the perspective of comparison, and at the same time, Selected a number of representative artists to evaluate their creative ideas and works of art. According to the author's research, The aesthetic features of the new ink and wash are manifested in the following points: 1, which eliminates the "center of ink and pen," weakens the position of ink and pen in art works and changes the bearing mode of the spirit of ink painting. In the past, the themes carrying the artist's spirit could be expressed with only some geometric symbols, the painting style had changed from concrete to abstract, and the aesthetic concepts of artists and aesthetic audiences had become secularized. With the change of aesthetic concept, aesthetic psychology has become complicated. In the process of ink painting becoming more and more contemporary, new ink painting has proved itself to be a kind of ink painting art which can bear the value of local culture. New ink art can also play its own advantages and unique aesthetic characteristics to make it possible to enter the present. I hope that through the new ink art research, for the new ink art can retain its own independence, Local cultural identity, but also can expand the contemporary ink art space, but also can affect other local non-ink art to follow the era Ki fart, to provide reference and ideological inspiration.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212

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