本文選題：市場經(jīng)濟(jì) + 寫實(shí)油畫市場��； 參考：《陜西師范大學(xué)》2014年碩士論文

【摘要】：寫實(shí)油畫作為西方傳統(tǒng)繪畫的重要組成部分,在我國僅有百年的發(fā)展歷史,相較于歷史悠久的中國書畫而言,在國內(nèi)的藝術(shù)市場之中缺乏足夠的競爭力。寫實(shí)油畫與我國市場經(jīng)濟(jì)的結(jié)合,最早可以追溯到20世紀(jì)80年代,晚于已經(jīng)形成一定規(guī)模的香港、澳門、臺灣地區(qū)的油畫市場。由于早期國內(nèi)市場經(jīng)濟(jì)發(fā)展薄弱、社會公眾對寫實(shí)油畫缺乏足夠的認(rèn)知和關(guān)注,致使寫實(shí)油畫在國內(nèi)早期的藝術(shù)市場之中一直是最低迷、最缺乏活力的一個(gè)板塊。 中國和西方的寫實(shí)油畫藝術(shù),不論是藝術(shù)創(chuàng)作方面,還是市場發(fā)展方面都存在著巨大“時(shí)間差”,當(dāng)前已經(jīng)逐漸被西方邊緣化的寫實(shí)油畫,在我國的藝術(shù)市場中卻展現(xiàn)出蓬勃的發(fā)展生機(jī)。國內(nèi)的寫實(shí)油畫市場雖然自1991才正式起步,但經(jīng)過二十多年的發(fā)展已經(jīng)取得了蔚為壯觀的成績。進(jìn)入21世紀(jì),在國內(nèi)物質(zhì)極大繁榮與人民精神需求不斷上升的大時(shí)代背景之下,具有精神愉悅功能的寫實(shí)油畫開始被更多的人了解和接受。迅速崛起的一大批優(yōu)秀寫實(shí)油畫家,也為當(dāng)代寫實(shí)油畫市場的繁榮發(fā)展做出了非常重要的貢獻(xiàn)。在跌宕起伏的市場經(jīng)濟(jì)之中,寫實(shí)油畫憑借不斷刷新的拍賣紀(jì)錄和穩(wěn)中有升的市場行情,吸引了各市場參與者的關(guān)注,預(yù)示著寫實(shí)油畫已經(jīng)成為我國藝術(shù)品市場之中最為穩(wěn)健的中堅(jiān)力量,并發(fā)揮著越來越重要的作用。 在當(dāng)代市場經(jīng)濟(jì)背景下,“文不言商,士不理財(cái)”的時(shí)代已經(jīng)過去,市場已經(jīng)成為我國當(dāng)代寫實(shí)油畫家必須面對的問題,然而藝術(shù)家在市場中迷失自我、商業(yè)化導(dǎo)致了藝術(shù)作品水準(zhǔn)的降低、不規(guī)范經(jīng)營導(dǎo)致了市場的混亂以及繁榮假象等問題,已經(jīng)嚴(yán)重地阻礙了我國寫實(shí)油畫的市場化進(jìn)程。寫實(shí)油畫要在國內(nèi)獲得長久而健康的發(fā)展,市場參與者就必須對當(dāng)前的中國寫實(shí)油畫市場有一個(gè)冷靜而理智的認(rèn)識。由此,如何認(rèn)清寫實(shí)油畫的市場形勢,了解市場弊端,更好的指導(dǎo)藝術(shù)家的自身創(chuàng)作就成了一個(gè)值得思考的問題。本文以1991年國內(nèi)寫實(shí)油畫市場的起步作為研究起點(diǎn),以國內(nèi)主要拍賣公司的拍賣數(shù)據(jù)作為研究樣本,將寫實(shí)油畫市場中的四大組成部分(藝術(shù)家、寫實(shí)油畫作品、銷售中介、消費(fèi)者)作為基本的研究單位,針對目前市場中存在的藝術(shù)家心態(tài)浮躁問題,銷售者誠信缺失問題以及消費(fèi)者盲目跟風(fēng)等問題進(jìn)行重點(diǎn)分析,并將寫實(shí)油畫與其它藝術(shù)門類的市場狀況進(jìn)行交叉對比分析,試圖進(jìn)一步探究我國寫實(shí)油畫市場當(dāng)前的發(fā)展現(xiàn)狀,明晰寫實(shí)油畫作品在國內(nèi)藝術(shù)市場中得以迅速發(fā)展的優(yōu)勢以及存在的問題,提出切實(shí)可行的應(yīng)對措施并對未來予以展望,這對于推動(dòng)中國寫實(shí)油畫市場的健康、快速、持久發(fā)展具有理論與現(xiàn)實(shí)的雙重意義。
[Abstract]:Realistic oil painting, as an important part of western traditional painting, has a history of only one hundred years in China. Compared with Chinese calligraphy and painting with a long history, realistic oil painting lacks sufficient competitiveness in the domestic art market. The combination of realistic oil painting and market economy of our country can be traced back to the 1980s, later than the oil painting market of Hong Kong, Macao and Taiwan, which has already formed a certain scale. Because of the weak development of the early domestic market economy and the lack of sufficient cognition and attention of the public to realistic oil painting, realistic oil painting has always been the most depressed and the most lack of vitality in the domestic early art market. The realistic oil painting art in China and the West, whether in artistic creation or in the development of the market, has a huge "time difference", and has been gradually marginalized by the Western realistic oil painting. In our country's art market, however, it shows the vigorous development vitality. Although the domestic realistic oil painting market has only officially started since 1991, it has made spectacular achievements after more than 20 years of development. In the 21st century, under the background of the great prosperity of domestic material and the rising spiritual demand of the people, realistic oil painting with the function of spiritual pleasure began to be understood and accepted by more and more people. The rapid rise of a large number of excellent realistic oil painters, but also for the prosperity of the contemporary realistic oil painting market has made a very important contribution. In the ups and downs of the market economy, realistic oil paintings have attracted the attention of all market participants by constantly refreshing auction records and steadily rising market prices. It indicates that realistic oil painting has become the most stable backbone in the art market of our country, and plays a more and more important role. Under the background of the contemporary market economy, the era of "no business, no business, no money" has passed, and the market has become a problem that the contemporary oil painters of our country must face. However, the artists lose themselves in the market. Commercialization has led to the decline of the standard of art works, non-standard management has led to the confusion of the market and prosperity of the false image, has seriously hindered the marketization process of realistic oil painting in China. In order to obtain a long and healthy development of realistic oil painting in China, market participants must have a calm and rational understanding of the current realistic oil painting market in China. Therefore, how to recognize the market situation of realistic oil painting, understand the market drawbacks, better guide the artist's own creation has become a problem worth thinking. This paper takes the starting point of domestic realistic oil painting market in 1991 as the research starting point and the auction data of the main auction companies in China as the research sample. The four major components of the realistic oil painting market (artists, realistic oil paintings, sales agents) are taken as the research samples. Consumer) as a basic research unit, focusing on the current market in the artist mentality impetuous problem, the lack of integrity of the seller and consumers blindly follow the trend and other issues to focus on analysis, The market situation of realistic oil painting and other art categories is compared and analyzed in order to further explore the current development situation of realistic oil painting market in China. Make clear the advantages and problems of the rapid development of realistic oil paintings in the domestic art market, and put forward practical countermeasures and prospects for the future, which will promote the healthy and rapid development of the realistic oil painting market in China. The sustainable development has the double meaning of theory and reality.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J213-29

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