發(fā)布時間：2018-05-16 11:32

  本文選題：當(dāng)代藝術(shù) + 水墨藝術(shù)　； 參考：《四川美術(shù)學(xué)院》2017年碩士論文

【摘要】：1980年代中期,觀念水墨開始出現(xiàn),作為一種新的藝術(shù)現(xiàn)象,當(dāng)時僅僅只將其作為現(xiàn)代水墨的一種發(fā)展路徑。1990年代,觀念水墨有了質(zhì)的飛躍,藝術(shù)家有的從媒介出發(fā)、有的從書寫性出發(fā)、有的從形態(tài)出發(fā),不同的路徑、不同的方法,目的在于推動觀念水墨向前發(fā)展。到了1990年代末期,觀念水墨領(lǐng)域已發(fā)展成為蔚為壯觀的局面,同時也成為中國當(dāng)代藝術(shù)重要的組成部分。2000年以來,觀念水墨不僅延續(xù)了1990年代的某些特征,比如對媒介、材料、書寫性的重視,而且,更強調(diào)“觀念”生效的語境,及其藝術(shù)史上下文關(guān)系。本文以《2000年以來中國觀念水墨的創(chuàng)作形態(tài)與批評話語》為題,旨在探討新世紀(jì)以來,中國觀念水墨出現(xiàn)的新的變化,以及批評的建構(gòu)。事實上,從1980年代的“新潮美術(shù)”開始,藝術(shù)批評就積極地介入社會,介入創(chuàng)作,就觀念水墨領(lǐng)域,曾產(chǎn)生了重要的推動作用。一方面,藝術(shù)創(chuàng)作的發(fā)展與觀念的更迭,消解了既有的創(chuàng)作范式,動搖了既定的創(chuàng)作思想,催生了新的藝術(shù)思潮,引發(fā)了新的學(xué)術(shù)問題。于是,批評需要做出反映,需要對其進(jìn)行闡述,進(jìn)行梳理。另一方面,批評并不僅僅是創(chuàng)作的附庸,只是一種闡述工具,相反,批評也是一種知識性生產(chǎn),會形成新的批評話語,進(jìn)而構(gòu)建新的批評理論。因此,本文力圖討論,2000年以后,觀念水墨領(lǐng)域出現(xiàn)了哪些批評聲音,生成了哪些批評話語,并且,它們與之形成了怎樣的互動,抑或是張力關(guān)系。本文首先對1980年代以來,觀念水墨的發(fā)展做了線性的梳理,對其重要階段的特點進(jìn)行了闡述。本文的重點在于對2000年之后,觀念水墨所呈現(xiàn)的新的形態(tài)特征進(jìn)行了歸納,譬如:從筆墨形式走向觀念水墨、從文字語言的解構(gòu)走上觀念之路,從傳統(tǒng)水墨自身的修辭、審美習(xí)慣尋求突破口,從形態(tài)邊界的拓展向觀念水墨發(fā)展等等。借助于個案,希望深入的討論觀念水墨內(nèi)部發(fā)生的變化。針對觀念水墨帶來的變化,就批評界而言,既有支持者,也有反對的聲音。問題不在于觀點上是肯定還是否定,對于筆者來說,更為關(guān)注的是,是否產(chǎn)生了新的批評話語。而這些話語又是基于什么樣的理論,怎樣的闡述體系與藝術(shù)史上下文展開的?它們對觀念水墨的創(chuàng)作究竟產(chǎn)生了哪些影響?本文的最后一部分,是討論觀念水墨在未來的發(fā)展中還將面臨哪些困難與挑戰(zhàn),在新的藝術(shù)史情景,以及依托于中國當(dāng)代藝術(shù)的整體氛圍,還有哪些新的可能性。
[Abstract]:In the mid-1980s, concept ink began to appear, as a new art phenomenon, at that time only as a way of development of modern ink. In the 1990s, the concept of ink has made a qualitative leap, some artists from the media. Some from the writing, some from the form, different paths, different methods, the purpose is to promote the concept of ink and ink forward development. By the end of the 1990s, the field of conceptual ink had developed into a spectacular situation, and it had also become an important part of contemporary Chinese art. Since 2000, conceptual ink has not only continued some of the characteristics of the 1990s, such as media, materials, The importance of writing, and more emphasis on the "concept" effective context, and the context of art history. This paper focuses on the creation form and critical discourse of Chinese conceptual ink since 2000, in order to explore the new changes of Chinese concept ink since the new century and the construction of criticism. As a matter of fact, art criticism has been actively involved in society and creation since 1980s, and has played an important role in the field of conceptual ink painting. On the one hand, the development of artistic creation and the change of ideas have dispelled the existing creative paradigm, shaken the established creative thought, spawned a new artistic trend of thought, and caused new academic problems. Therefore, criticism needs to make a response, need to elaborate, carding. On the other hand, criticism is not only an appendage of creation, but also a means of elaboration. On the contrary, criticism is also a kind of knowledge production, which will form a new critical discourse and then construct a new criticism theory. Therefore, this paper tries to discuss what criticism voice has appeared, what critical discourse has been generated in the field of conceptual ink painting since 2000, and what kind of interaction or tension relationship they have formed with it. In this paper, the development of the concept of ink since 1980's, the development of a linear combing, its important stage of the characteristics are described. The emphasis of this paper is to sum up the new morphological features of conceptual ink after 2000, such as: from the form of ink to the form of ink, from the deconstruction of words to the road of ideas, from the rhetoric of traditional ink. Aesthetic habits seek a breakthrough, from the expansion of the shape of the boundary to the concept of ink development and so on. With the help of individual cases, I hope to discuss the changes in the concept of ink. In view of the changes brought about by the concept of ink and ink, critics have both supporters and voices of opposition. The question is not whether the viewpoint is positive or negative, for the author, more concern is whether there is a new critical discourse. And what kind of theory are these words based on, how to expound the system and the context of art history? What influence did they have on the creation of conceptual ink? The last part of this paper is to discuss the difficulties and challenges that the concept ink will face in the future development, the scene of the new art history, the overall atmosphere of the Chinese contemporary art, and what new possibilities.
【學(xué)位授予單位】：四川美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212

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本文編號：1896659