本文選題：物派 + 藝術(shù)　； 參考：《中央美術(shù)學(xué)院》2007年碩士論文

【摘要】： 本文選取20世紀(jì)70年代前后在日本出現(xiàn)的現(xiàn)代藝術(shù)流派“物派”作為研究的對(duì)象�！拔锱伞彼囆g(shù)在世界藝術(shù)由現(xiàn)代主義向后現(xiàn)代主義過渡的時(shí)期出現(xiàn)，是體現(xiàn)了東亞獨(dú)特性質(zhì)的重要藝術(shù)流派。研究“物派”的藝術(shù)語言對(duì)于探索東方獨(dú)特的藝術(shù)潛質(zhì)具有重要作用。作為同屬東方，并且處于高速發(fā)展中的中國來說，在日本經(jīng)濟(jì)騰飛時(shí)期出現(xiàn)的“物派”藝術(shù)是值得我們研究的經(jīng)典藝術(shù)案例。 本文采取的研究方法主要是對(duì)史料和文獻(xiàn)進(jìn)行考察。通過對(duì)國內(nèi)外有關(guān)文獻(xiàn)考察，分析“物派”形成的社會(huì)、歷史、因素；梳理“物派”形成的過程；并且進(jìn)一步的分析“物派”的藝術(shù)語言和其歷史價(jià)值。 中國藝術(shù)界對(duì)“物派”的關(guān)注比較少，，至今為止還沒有研究“物派”藝術(shù)的專著。所以本文嘗試著重對(duì)“物派”語言的成因與形成過程進(jìn)行梳理，并在此基礎(chǔ)上對(duì)“物派”的語言方式進(jìn)行分析和研究。 “物派”藝術(shù)出現(xiàn)在1968年，這時(shí)日本正處在二戰(zhàn)后，經(jīng)濟(jì)躍居世界第二的鼎盛時(shí)期。“物派”的成因融合了東方的禪宗思想以及西方的現(xiàn)代文明。“物派”藝術(shù)的形成起始于關(guān)根伸夫的作品《位相—大地》與李禹煥的藝術(shù)理論的相遇。“物派”藝術(shù)主要以自然物作為材料，基本不經(jīng)加工，作品注重物與物、物與空間的關(guān)系，意于將物本身消解到時(shí)間與空間中，開啟本質(zhì)的世界�！拔锱伞钡乃囆g(shù)語言是具有東方特性的藝術(shù)語言，不僅是亞洲現(xiàn)代藝術(shù)中的經(jīng)典，也得到了西方藝術(shù)界的關(guān)注。
[Abstract]:This article selects the modern art school, which appeared in Japan before and after the 1970s, as the object of study. The art of "material school" appears in the period of the transition of world art from modernism to backward modernism. It is an important school of art which embodies the unique nature of East Asia. Special artistic potential plays an important role. As the East, and in the rapid development of China, the "material" art appeared in the period of Japanese economic takeoff is a classic art case worthy of our study.
The research method adopted in this paper is mainly to investigate the historical materials and literature. Through the investigation of the relevant literature at home and abroad, this paper analyzes the society, history and factors formed by the "School of material", combing the process of the formation of the "School of material", and further analyzing the artistic language of the "School of material" and its historical value.
The Chinese art circles have less attention to the "School of material". So far, there is no monograph on the art of "material school". So this article tries to focus on the formation and formation of the language of the "School of material", and on this basis, the language of the "School of material" is analyzed and studied.
The art of "School of things" appeared in 1968, when Japan was at the height of the world's Second World War after World War II. The cause of "the school of things" fused the Oriental Zen thought and the western modern civilization. The formation of "the school of things" originated from the encounter of Sekine Nobuo's works < phase earth > with Li Yuhuan's art theory. The art of material school mainly takes natural objects as material, basically without processing. The work pays attention to the relationship between objects and things, and the relationship between objects and space. It means to unlock the object itself into time and space and open the essence of the world. The art language of "the school of things" is an art language with the characteristics of the East, not only the classic of modern Asian art, but also the West. The attention of the art world.
【學(xué)位授予單位】：中央美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類號(hào)】：J131.3

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本文編號(hào)：2003433