【摘要】：“魔幻現實主義”最早由德國文藝批評家弗朗茨·羅在他的論著《魔幻現實主義,后期表現主義，當前歐洲繪畫的若干問題》中,比較了表現主義繪畫和魔幻現實主義繪畫，并提出“魔幻”這一術語。“魔幻現實主義”一詞雖最早出自繪畫問題的著作，但其對文學界的影響也十分深遠。但無論是文學著作還是繪畫作品他們都以語言藝術和視覺藝術作為劃分包含在“藝術”的大概念中。兩者經常是相輔相成，互相依托的關系，繪畫因故事方能坐擁光芒，而文學也因視覺而得以充分展現。隨著城市化的發(fā)展，“魔幻現實主義”也逐漸退出歷史舞臺。但“魔幻現實”作為一種趣味卻一直延續(xù)至今。隨著全球化的推進，當代語境中的“藝術”早已由過去相對保守和單一的表現方式，轉向了以繪畫，，動畫影像，公共雕塑等多種藝術表現方式相互融合多維度發(fā)展的程度。筆者希望在“藝術”這一大語境下結合已有的相關文獻來淺析魔幻現實趣味在過去藝術中的呈現，同時結合當下全球化的語境，分析魔幻現實趣味對當下藝術創(chuàng)作的啟發(fā)。
[Abstract]:Magic realism was first compared between Expressionist painting and Magic realism painting by Franz Rowe, a German literary critic, in his book "Magic realism, late Expressionism, and some problems in current European painting". And put forward the term "magic". Although the term "magic realism" was first written on painting, its influence on literary circles is also very profound. However, both literary works and paintings are divided into linguistic art and visual art, which are included in the concept of "art". They often complement each other and rely on each other. Painting can only be seen by stories, and literature is fully displayed by vision. With the development of urbanization, Magic realism has gradually withdrawn from the historical stage. But the magic reality as a kind of interest continues to this day. With the development of globalization, the "art" in the contemporary context has long changed from a relatively conservative and single way of expression in the past, to the degree to which various artistic expressions such as painting, animated images, public sculpture and so on have merged and developed from one dimension to another. The author hopes to analyze the appearance of magic reality interest in the past art in the context of "art" and the inspiration of magic reality interest to contemporary art creation.
【學位授予單位】：中國美術學院
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J05

【參考文獻】

相關期刊論文 前1條

1 李曉輝;魔幻現實主義對中國文學的影響[J];內蒙古民族師院學報(哲學社會科學漢文版);2000年04期

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