【摘要】：在當代藝術(shù)進程中,中西方藝術(shù)交融互進,其“虛”的內(nèi)涵卻不盡相同。隨著藝術(shù)表現(xiàn)的內(nèi)容和形式不斷豐富,當代藝術(shù)呈現(xiàn)出包容性和多樣性,本文中“虛”的藝術(shù)觀契合了當今藝術(shù)多元化的趨勢,帶給觀者更多的解讀性和參與性,尤其擴展了藝術(shù)實踐的自由度,使藝術(shù)創(chuàng)作者在創(chuàng)作時更關(guān)注于自身情感和觀念的表達。本文從“虛”的角度出發(fā),梳理“虛”的藝術(shù)觀在當代藝術(shù)中的呈現(xiàn)方式,進而探究“虛“在當代藝術(shù)創(chuàng)作和藝術(shù)教育實踐中的現(xiàn)實意義。 本文共分為五個部分,緒論部分對選題的目的及意義進行了闡述,同時對文章所涉及到的相關(guān)概念作了界定。第一章主要論述“虛”的相關(guān)背景,此“虛’引自中國老子“虛無”的美學(xué)思想,而僅非西方傳統(tǒng)繪畫中描摹自然的客觀視覺上的模糊。第二章對“虛”存在的普遍性及必要性進行了梳理,分析了“虛”在中西方藝術(shù)中的地位和影響,以及“虛”提供給創(chuàng)作者極大的自由度使其成為我國當代藝術(shù)中的必要存在。第三章是本文的重點章節(jié),借由當代藝術(shù)家及其作品對“虛”的內(nèi)涵和表現(xiàn)形式進行闡述,“虛”的藝術(shù)觀使當代繪畫有了豐富的創(chuàng)作形式,加以不同的觀念共同構(gòu)成了當代繪畫的多樣化呈現(xiàn)。第四章為最后一部分,結(jié)合筆者創(chuàng)作心得,及我國當下大眾審美與藝術(shù)教育現(xiàn)狀,探討分析“虛”在當代藝術(shù)創(chuàng)作及藝術(shù)教育中的價值所在。
[Abstract]:In the process of contemporary art, Chinese and western art intermingle with each other, but its "empty" connotation is different. With the rich content and form of art expression, contemporary art presents inclusiveness and diversity. The "empty" art view in this paper fits the trend of art diversification and brings more interpretation and participation to the viewer. In particular, it expands the freedom of artistic practice and makes the artistic creators pay more attention to the expression of their own feelings and ideas. From the angle of "empty", this paper combs the present way of "empty" in contemporary art, and then probes into the practical significance of "empty" in the practice of contemporary art creation and art education. This paper is divided into five parts, the introduction of the purpose and significance of the topic is described, and the related concepts involved in the article are defined. The first chapter mainly discusses the related background of "empty", which is drawn from the aesthetic thought of "nothingness" of Laozi in China, but not the objective visual ambiguity of describing nature in traditional western painting. The second chapter combs the universality and necessity of the existence of "empty", analyzes the position and influence of "empty" in Chinese and western art, and provides the author with great freedom to make it a necessary existence in contemporary art of our country. The third chapter is the key chapter of this paper, through the contemporary artists and their works to explain the connotation and the form of expression of "empty", the "empty" art view makes contemporary painting have rich forms of creation. Different ideas together constitute the diversification of contemporary painting. The fourth chapter is the last part, combined with the author's creative experience, and the current situation of aesthetic and art education in our country, discusses the value of "empty" in contemporary art creation and art education.
【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】：2013
【分類號】：J204

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