發(fā)布時間：2018-06-01 10:13

  本文選題：公共藝術(shù) + 發(fā)展史�。� 參考：《中國藝術(shù)研究院》2017年博士論文

【摘要】：公共藝術(shù)是現(xiàn)代城市建設(shè)中對文化資源和公共空間創(chuàng)新的自覺和反省,是屬于公眾集體所有的重要藝術(shù)樣式,代表著國家和城市發(fā)展的常態(tài)文化價值觀,體現(xiàn)時代精神和國家、民族的民主與自由。世界上大多數(shù)國家、城市都很重視公共藝術(shù)的建設(shè),希望通過它來傳承城市文化精神,建構(gòu)能夠被人民普遍認(rèn)同的主流文化價值觀,進(jìn)而向世界展示和宣傳本國文化。所以,20世紀(jì)中葉以后,很多國家通過公共文化政策、百分比藝術(shù)法案、建立藝術(shù)社區(qū)等措施,推進(jìn)公共藝術(shù)引導(dǎo)的核心價值觀的塑造與傳播。中國公共藝術(shù)發(fā)展歷程研究是一種依據(jù)史料的、以文化研究的視角來構(gòu)建的、填補(bǔ)中國公共藝術(shù)空白的史述研究。它是一種從社會學(xué)的角度并結(jié)合藝術(shù)本體進(jìn)行闡釋的合乎邏輯關(guān)系的話語體系,是在現(xiàn)代藝術(shù)史觀統(tǒng)攝下的,叩問歷史與現(xiàn)狀因果關(guān)系的史學(xué)研究。其目的是對中國公共藝術(shù)的發(fā)展歷程進(jìn)行清晰地梳理,試圖在歷史中呈現(xiàn)并尋求當(dāng)代公共藝術(shù)的發(fā)展路徑。本文根據(jù)時間發(fā)展脈絡(luò),采用多維度、綜合研究判斷的方式展開分期斷代。在書寫每個階段發(fā)展特征的同時著重闡述每個分期單元中概念內(nèi)涵、文化政策、藝術(shù)作品、學(xué)術(shù)研究以及重要事件之間的邏輯關(guān)系,力求探討一種相對科學(xué)與客觀的中國公共藝術(shù)發(fā)展的分期特征。公共藝術(shù)在中國本就是一個舶來之詞,但是它在中國有著特殊的發(fā)展路徑。本文將公共藝術(shù)放在整個中國20世紀(jì)大背景之中,審視中國公共藝術(shù)理論與實(shí)踐的演變及建構(gòu)的過程。研究將民族解放、文化自立的新中國成立設(shè)為研究起點(diǎn),在國家發(fā)展和社會進(jìn)步的宏觀背景下,分析中國公共藝術(shù)與國家政策和民族文化之間的關(guān)系,梳理中國公共藝術(shù)面貌的形成和生長脈絡(luò),探究其孕育土壤的變化發(fā)展因素。研究將1949年至1978年定義為中國公共藝術(shù)發(fā)展的萌芽階段,其特征是以雕塑、壁畫的姿態(tài)呈現(xiàn)的胚芽。它是在國家意識形態(tài)主導(dǎo)下生長的,創(chuàng)作的題材帶有一種“運(yùn)動”的意味,有著明顯的革命化、政治化傾向,個性被共性所取代,作品呈現(xiàn)著一種萬眾一心的集體意識;將1978年至2000年作為中國公共藝術(shù)發(fā)展的探索階段,是強(qiáng)調(diào)這一階段創(chuàng)作主題方向開始轉(zhuǎn)變,公眾的思想意識逐漸得到解放,具有公共藝術(shù)性質(zhì)的管理機(jī)制開始建立,公共藝術(shù)的建設(shè)和組織管理得到空前關(guān)注。這個時期中國的公共藝術(shù)經(jīng)歷了美化城市和觀念蛻變的階段。最后將2000年至今定義為建構(gòu)階段,中國公共藝術(shù)正式進(jìn)入加速的建構(gòu)與完善時期,公共藝術(shù)概念在爭論中逐漸清晰,藝術(shù)本體的語言形式逐步多元與完善,公共藝術(shù)的邊界在實(shí)踐中得以拓展。在本文的最后,依據(jù)中國社會發(fā)展的現(xiàn)實(shí)情況,依據(jù)國家文化藝術(shù)發(fā)展的方針與政策,提出自己對中國公共藝術(shù)發(fā)展的思考與建議。本文為了更清晰的呈現(xiàn)中國大陸公共藝術(shù)的發(fā)展脈絡(luò),對港澳臺地區(qū)公共藝術(shù)的詳細(xì)研究暫且不涉及其中,本論文將全面詳細(xì)剖析中國大陸地區(qū)公共藝術(shù)的發(fā)展歷程,但這并非是否定港澳臺地區(qū)公共藝術(shù)對大陸地區(qū)公共藝術(shù)發(fā)展的影響,而是把更多的精力放在中國大陸公共藝術(shù)的研究,港澳臺地區(qū)的公共藝術(shù)對大陸的公共藝術(shù)的發(fā)展其影響力是值得肯定的。
[Abstract]:Public art is a self-consciousness and Reflection on the innovation of cultural resources and public space in modern city construction. It is an important artistic style belonging to the collective of the public. It represents the normal cultural values of the development of the country and the city, and embodies the spirit of the times and the state, the democracy and freedom of the nation. Most of the countries in the world pay much attention to the public. The construction of art hopes to inherit the cultural spirit of the city through it, construct the mainstream cultural values that can be universally recognized by the people, and then display and propagate the national culture to the world. So, after the middle of the twentieth Century, many countries have adopted the public cultural policy, the percentage Art law case, the establishment of the art community and other measures to promote the guidance of the public art. The study of the course of the development of Chinese public art is a historical study based on historical materials and from the perspective of cultural research to fill the history of the blank of Chinese public art. It is a discourse system of logic relation from the angle of sociology and the interpretation of art noumenon, and it is in modern art. The historical study of the causal relationship between history and the status quo under the view of the history of art. The purpose is to clear the course of the development of Chinese public art and to try to present and seek the development path of contemporary public art in history. At the same time, in writing each stage of the development of the characteristics of each stage of the concept of connotation, cultural policy, art works, academic research and the logical relationship between important events, and strive to explore a relatively scientific and objective development of the Chinese public art of the stages of the characteristics. But it has a special development path in China. This article puts public art in the whole Chinese background of twentieth Century and examines the process of the evolution and construction of the theory and practice of Chinese public art. The study of the establishment of a new China, which includes national liberation and self-reliance, has been set up as the research point, under the macro background of national development and social progress. This paper analyzes the relationship between Chinese public art and national policy and national culture, combs the formation and growth of Chinese public art and explores the factors for its development of soil. The study will be defined as the embryonic stage of the development of Chinese public art from 1949 to 1978, which is characterized by the germ of the posture of sculpture and murals. It is grown under the leadership of the state ideology. The subject matter of the creation has a "movement" meaning. It has obvious revolutionary, politicized tendency, the character is replaced by the commonness, and the work presents a kind of collective consciousness of the unity. From 1978 to 2000, as the exploration stage of the development of Chinese public art, it emphasizes this stage. The theme of the creation began to change, the public's ideological consciousness was gradually liberated, the management mechanism with the nature of the public art began to be established, the construction of public art and the organization and management received unprecedented attention. In this period, the public art of China experienced the stage of beautifying the city and the transformation of ideas. Finally, 2000 has been defined as the construction order. Section, Chinese public art formally entered the period of construction and improvement of acceleration. The concept of public art is gradually clear in the debate, the language form of the art noumenon is gradually diversified and perfected, and the boundary of public art is expanded in practice. At the end of this article, according to the reality of Chinese social development, the development of national culture and art is based on the development of national culture and art. In order to make a clearer presentation of the development of Chinese public art in mainland China, a detailed study of public art in Hong Kong, Macao and Taiwan is not involved in this paper. This paper will give a detailed analysis of the development of public art in the large land area of China, but this is not the case. The influence of public art in Hong Kong, Macao and Taiwan on the development of public art in the mainland, but more attention is put on the study of public art in mainland China. The influence of public art in Hong Kong, Macao and Taiwan on the development of the public art of the mainland is worth affirming.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2017
【分類號】：J0
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本文編號：1963819