本文關鍵詞：20世紀以來中國對非洲藝術的認知　出處：《浙江師范大學》2010年碩士論文　論文類型：學位論文

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【摘要】： 百年的非洲藝術中國傳播史折射出了近現(xiàn)代中國所走過的波瀾壯闊的歷程。社會的變革、時代的變遷無不在中國對非洲藝術的認知上找上深深的烙印。 清末以來,有志之士為挽救中華民族于水火紛紛向西方學習,沉浸在西學東漸潮流中的中國并沒有注意到非洲藝術,而那時遙遠的非洲大陸同樣被西方殖民主義者奴役欺壓,毫無地位可言；即使有關于非洲藝術的一字半句,也都散見于中國介紹西方藝術的文獻中；而當硝煙四起、戰(zhàn)火紛飛時,中國更無法捕捉非洲藝術的魅力。中華人民共和國成立后,非洲也相繼擺脫被奴役的歷史,建立了一系列新興國家,相似的歷史命運與奮斗目標使相距遙遠的中國與非洲緊緊聯(lián)系在一起,開始了真誠的交往；中國對非洲人民的同情使非洲的藝術也備受關注,而中國的熱情也使非洲藝術蒙上了一層政治的色彩。改革開放后,西方文化藝術思潮再一次蜂擁而至,此時非洲藝術不再受到特別的關注,中國對非洲藝術的認知逐步冷靜獨立、擺脫政治的影響,雖然與西方藝術在中國的流布相比,只是微乎其微,但畢竟如雨后春筍,逐步形成景致。歷史進入了21世紀,短短幾年的時間,非洲藝術在中國流布之廣之深是以往任何時代都不能比擬的,中國不僅大量地介紹非洲藝術以及開始關注非洲藝術的學術研究,而且中國民眾直接接觸到了非洲藝術,一時間,非洲藝術展演活動在中國已經(jīng)不再稀奇,網(wǎng)絡與影視中有著無數(shù)的訊息,非洲藝術開始進入中國的課堂,中國也建立了非洲藝術研究機構。 縱覽中國對非洲藝術的介紹與研究,主要在于三個方面：非洲藝術的歷史、非洲藝術的形態(tài)以及非洲藝術的觀念。由于種種客觀條件的限制,非洲藝術史還有很多無法解開的迷,留給人的只是斷斷續(xù)續(xù)、斑斑駁駁的印象；非洲藝術有著豐富多樣的形態(tài),種類眾多、形式各異,同時非洲藝術又有突出的一面、獨特的語言；非洲藝術有著強烈的宗教觀念與廣泛的社會涵義,但又具備理性的藝術觀念與嚴謹?shù)膭?chuàng)作規(guī)律。研究者們針對這些問題展開了介紹與分析,各有不同的側重與思考。中國一些民眾也逐步了解到非洲藝術,但經(jīng)過筆者長期的考察與集中的調查,證明了大眾是不了解非洲藝術史的,對非洲藝術形態(tài)的認知也比較單一,認為非洲藝術的觀念比較原始。 通過梳理非洲藝術在中國傳播的歷史,分析中國對非洲藝術認知的歷程與現(xiàn)狀,可以看出中國介紹與研究非洲藝術有兩個特點：對非洲藝術的介紹具有時代性的特征,對非洲藝術的研究具有非獨立性的特征。中國對非洲藝術的介紹始終與時代緊密相連,近十幾年來,基于大量的介紹與一定的接觸,中國的非洲藝術研究開始起步,但是也應看到,國內很少專門針對非洲藝術展開學術研究,非洲藝術多出現(xiàn)在其它領域的研究中。 本文運用文獻法、調查訪談法、以及統(tǒng)計法等多種方法,梳理了20世紀以來非洲藝術在中國的傳播歷程以及中國對非洲藝術的認知歷程,分析了學術界對非洲藝術的認知狀況以及大眾對非洲藝術的認知現(xiàn)狀,總結出中國介紹與研究非洲藝術的特點,并就中國對非洲藝術的認知提出了一些思考。
[Abstract]:In the past century, the history of Chinese art in Africa reflects the magnificent process that modern China has gone through. Social changes and changes of the times are all deeply impressed by China's cognition of African art.
Since the late Qing Dynasty, a person of noble aspirations to save the nation veering have to learn from the west, immersed in the western learning in the trend of Chinese and paid no attention to African art, and then the distant Africa is also the Western colonialists enslave oppressed, no position at all; even if there is a word about African art, are scattered in the Chinese western art in the literature; and when the smoke in the flames of war, four, more Chinese cannot capture the charm of African art. After the establishment of People's Republic of China, Africa also have to get rid of the history of slavery, established a series of emerging countries, similar to the historical destiny and the goal to China and distant Africa are closely linked, begin to contact Chinese; for the African people sympathetic to the art of Africa is also of concern, but also the enthusiasm of the Chinese African art cast a Political color. After the reform and opening up, the western culture again at this time no longer stampede in African art, is of particular concern, China cognition of African art gradually calm, get rid of the influence of politics, although compared with the spread of Western art in China is very little, but after all, such as bamboo shoots after a spring rain gradually formed scenery. History. In twenty-first Century, a few years time, the African art is ever unmatched in China spread wide, Chinese not only a large number of academic research and the introduction of African art began to concern African art, and China people directly exposed to African art, for a time, the African Art Festival in Chinese it is no longer unusual, there are countless information networks and television, African art began to enter the Chinese class, Chinese also established African art research machine Structure.
The survey and study of African art China, mainly in three aspects: the history of African art, African art form and African art concepts. Due to various objective conditions, there are a lot of African art history cannot untie many people left, just off and on, mottled impression of African art; there are a variety of forms, many kinds of forms, at the same time, African art also has a prominent aspect, unique language; African art has a strong religious concept and extensive social meaning, but also has the law of rational art idea and rigorous creation. Researchers to address these issues are introduced and analyzed the emphasis, and thinking of different China. Some people also gradually understand African art, through long term observation and concentration, prove that mass is not understand African Art In history, the understanding of African art form is relatively simple, and the idea of African art is more primitive.
By combing the history of African art in Chinese communication, analysis of the history and current situation of China cognition of African art, can be seen Chinese introduction and study of African art has two characteristics: the introduction of African art has the characteristics of the times, the study of African art has not only set of features. China of African art has always been introduced closely connected with the times, in recent years, a large number of the introduction and a contact based on the study of African art Chinese started, but we should also see that few African art launched specifically for academic research, the research of African art appear in other fields.
Using the method of literature, investigation and interview, a variety of methods and statistics, African art communication process in China since twentieth Century and Chinese cognition of African art combs the course, analyzes the cognitive status of African art in academic circles and the mass of African art, summed up the characteristics of China introduction and study of African art, and some thoughts on China cognition of African art.

【學位授予單位】：浙江師范大學
【學位級別】：碩士
【學位授予年份】：2010
【分類號】：J120.9

【引證文獻】

相關碩士學位論文 前1條

1 唐園園;《亞威農少女》—畢加索筆下的非洲木雕形式語言[D];浙江師范大學;2012年

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本文編號：1418783