本文關(guān)鍵詞： 村上隆 新波普主義 裝飾 美學(xué)　出處：《揚(yáng)州大學(xué)》2010年碩士論文　論文類型：學(xué)位論文

【摘要】： 村上隆——上世紀(jì)60年代出生于日本,是二戰(zhàn)后新一代藝術(shù)家中極具影響力的重要人物之一。他敏銳地發(fā)現(xiàn)了日本“御宅一族”的審美觀、價(jià)值觀和世界觀的獨(dú)特和典型,認(rèn)為這種觀念實(shí)際上影響了日本國(guó)民生活的方方面面,也包括日本當(dāng)代藝術(shù)的走向。村上隆用其精妙的裝飾手法,充滿濃郁日式動(dòng)漫特色的圖像符號(hào),將日本社會(huì)消費(fèi)文化貌似喧鬧升騰背后的單一扁平、缺乏深度的特點(diǎn)展現(xiàn)無疑,給人以直觀的視覺美感和強(qiáng)烈的藝術(shù)張力。這些作品傳達(dá)了村上隆對(duì)于大眾文化日趨浮面膚淺的憂思。 作為“日本新波普藝術(shù)”的領(lǐng)軍人物,村上隆的作品不同于美國(guó)式波普藝術(shù)。后者是直接挪用大眾熟知的文化符號(hào),運(yùn)用拼貼等手法,將視覺符碼從文本內(nèi)容中抽離,畫家像是“一臺(tái)機(jī)器”——理性、漠然。村上隆的作品則是將東方式繪畫語言和西方現(xiàn)代藝術(shù)的美學(xué)理念相融合;將童年記憶與成人世界相鏈接,力圖展現(xiàn)最貼近草根民眾的大眾流行文化。同樣是反傳統(tǒng)的現(xiàn)代藝術(shù),村上隆的作品中多了一份溫情的人文關(guān)懷。加之與諸多奢侈品牌的合作也使他更加關(guān)注受眾的需求,而其作品的相關(guān)衍生產(chǎn)品更是催生了藝術(shù)的產(chǎn)業(yè)化、商品化,在某種程度上推動(dòng)了藝術(shù)的日常生活化。 本文試圖對(duì)村上隆作品的裝飾意味進(jìn)行研究與剖析,大致結(jié)構(gòu)如下: 首先,由于尚未有文章將村上隆的作品歸為裝飾作品,所以在第一章有必要對(duì)本文研究所涉的“裝飾意味”的概念、范圍進(jìn)行界定,并依照時(shí)間順序闡述裝飾在現(xiàn)代藝術(shù)中的發(fā)展和演變過程,說明村上隆作品中確有裝飾這一元素的存在;其次,在第二章簡(jiǎn)單介紹村上隆的藝術(shù)歷程,并對(duì)影響村上隆繪畫風(fēng)格形成的師承淵源進(jìn)行挖掘和分析;最后在第三章逐一分析村上隆作品的構(gòu)圖、造型和色彩,闡述村上隆是如何運(yùn)用裝飾表現(xiàn)手法,將形式美法則和諧地運(yùn)用于作品中達(dá)到平衡的效果,又是怎樣通過豐富的象征意味傳遞其對(duì)于社會(huì)深切的人文關(guān)懷。 本文選取裝飾視角,全方位品讀村上隆作品中的大眾流行文化元素,以期深層次的理解和體會(huì)畫家作品人文意味,客觀地論述村上隆在當(dāng)代藝術(shù)領(lǐng)域的嶄新探索和作品的獨(dú)創(chuàng)價(jià)值。
[Abstract]:Murakami, born in Japan in -40s, is one of the most influential artists of the new generation after World War II. He acutely discovered the beauty of Japan's "imperial mansions". The unique and typical values and world outlook hold that this concept has actually affected all aspects of Japanese national life, including the trend of contemporary Japanese art. Murakami used his exquisite decoration techniques. Full of rich Japanese animation features of the image symbols, the Japanese social consumption culture seems to rise behind the rise of a single flat, lack of depth features show no doubt. These works convey Murakami's concern about popular culture. As the leader of "Japanese New Popper Art", Murakami's works are different from those of American pop art. The latter is a direct misappropriation of popular cultural symbols and the use of collage and other techniques. Drawing the visual code from the content of the text, the painter is like "a machine"-rational, indifferent. Murakami's works are the combination of the eastern painting language and the aesthetic idea of western modern art. Linking childhood memories to the adult world, we try to show the popular popular culture that is closest to the grassroots populace. It is also an anti-traditional modern art. Murakami's works have a warm humanistic concern. In addition, the cooperation with many luxury brands also makes him pay more attention to the needs of the audience, and the related derivative products of his works have spawned the industrialization of art. Commercialization, to some extent, promotes the daily life of art. This paper attempts to study and analyze the decorative meaning of Murakami's works, which is roughly structured as follows: First of all, because there is no article to classify Murakami's works as decorative works, it is necessary to define the concept and scope of "decorative meaning" in the first chapter. The development and evolution of decoration in modern art is explained according to the time sequence, and the existence of this element in Murakami's works is explained. Secondly, in the second chapter, it briefly introduces Murakami's artistic course, and excavates and analyzes the origin of the teacher's inheritance that affects the formation of Murakami's painting style. Finally in the third chapter, one by one analysis of the composition of Murakami's works, modeling and color, elaborated how Murakami is the use of decorative expression techniques, the beauty of form in harmony in the works to achieve a balanced effect. And how to convey its profound humanistic concern for society through rich symbolism. This article selects the decoration angle of view, reads the popular culture element in Murakami's works in all directions, in order to deeply understand and understand the humanism meaning of the painter's works. This paper objectively discusses Murakami's new exploration in the field of contemporary art and the original value of his works.
【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J205

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 閆峻;;析波普藝術(shù)中的社會(huì)學(xué)現(xiàn)象[J];安徽電子信息職業(yè)技術(shù)學(xué)院學(xué)報(bào);2007年03期

2 歐陽世逸;;破碎與融合——論后現(xiàn)代藝術(shù)對(duì)現(xiàn)代藝術(shù)的傳承與創(chuàng)造[J];貴陽學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);2007年04期

3 裴臨風(fēng);反叛、超越與認(rèn)同——達(dá)達(dá)、波普、新波普藝術(shù)評(píng)析[J];貴州大學(xué)學(xué)報(bào)(藝術(shù)版);2004年02期

4 魏光慶;;杜尚的《泉》與藝術(shù)的本性[J];湖北美術(shù)學(xué)院學(xué)報(bào);2008年03期

5 郭繼英;;東西之間的文化抉擇——日本當(dāng)代繪畫發(fā)展之我見[J];美術(shù);2007年09期

6 向燕;;卡通、卡通——從卡通在日本的發(fā)展談起[J];美術(shù)大觀;2008年11期

7 張小鷺;當(dāng)代日本美術(shù)的后現(xiàn)代主義傾向[J];美術(shù)觀察;1997年05期

8 潘力;重疊與融合:日本當(dāng)代美術(shù)的文化透視[J];美術(shù)觀察;2005年04期

9 陳新;后現(xiàn)代與波普藝術(shù)[J];求索;2005年01期

10 蔡(禾恩)秋;日本美術(shù)的工藝性和裝飾性[J];上海工藝美術(shù);1999年01期

相關(guān)重要報(bào)紙文章 前1條

1 中國(guó)美術(shù)學(xué)院史論系 張書彬;[N];美術(shù)報(bào);2007年

，

本文編號(hào)：1478395