本文選題：中國與西方 + 當(dāng)代藝術(shù)��； 參考：《中國藝術(shù)研究院》2010年博士論文

【摘要】： 本論文研究的時(shí)間范圍為20世紀(jì)80年代至當(dāng)下,主題是中國當(dāng)代藝術(shù)中的西方模版。 中國當(dāng)代藝術(shù)從發(fā)生之初就模仿西方現(xiàn)代藝術(shù)的觀念、圖式、語言邏輯。這與全球化的時(shí)代背景,以及西方文化的強(qiáng)勢(shì)地位有很大關(guān)系。中國當(dāng)代藝術(shù)對(duì)西方的模仿,這已經(jīng)不是中國特有的現(xiàn)象,當(dāng)今世界所有欠發(fā)達(dá)國家都存在這樣的問題。因?yàn)榘l(fā)達(dá)國家向欠發(fā)達(dá)國家提供了走向未來的發(fā)展途徑,他們的經(jīng)濟(jì)、文化、政治等都被全球范圍的欠發(fā)達(dá)國家用作參照體系。 中國當(dāng)代藝術(shù)的開端是以西方現(xiàn)代藝術(shù)作為模版,它主要體現(xiàn)在改革開放以后,西方思潮大規(guī)模傳入中國,以及中國結(jié)束“文化大革命”后社會(huì)意識(shí)形態(tài)的變化,而帶來的一系列文化上的變化。伴隨著改革開放和全球化格局下的中國社會(huì)發(fā)展,中國當(dāng)代藝術(shù)從精神觀念、圖像語言等層面上對(duì)西方現(xiàn)代藝術(shù)進(jìn)行了全面臨習(xí)、摹仿、移植、嫁接和融合。隨著中國當(dāng)代藝術(shù)自身的發(fā)展,中國當(dāng)代藝術(shù)家在藝術(shù)創(chuàng)造中,逐步回歸到中國文化資源和本土文脈的創(chuàng)新探索中,開始了超越西方模版的初步實(shí)踐。 本文通過對(duì)具體藝術(shù)家的具體藝術(shù)理念和藝術(shù)圖像分析,闡釋中國當(dāng)代藝術(shù)家是如何學(xué)習(xí)西方模版,又是如何進(jìn)行超越西方模版的實(shí)踐。進(jìn)而提出在后殖民文化背景下,在全球化的世界格局下,如何重建中國當(dāng)代藝術(shù)的價(jià)值觀與話語體系。
[Abstract]:This thesis covers the period from 1980's to the present, and focuses on Western templates in contemporary Chinese art. Chinese contemporary art has imitated the concept, schema and language logic of western modern art from the beginning. This has much to do with the background of globalization and the strong position of western culture. The imitation of Chinese contemporary art to the West is no longer a unique phenomenon in China. Because the developed countries provide the way to the future development of the less developed countries, their economy, culture, politics and so on are used as the reference system by the less developed countries all over the world. The beginning of Chinese contemporary art is to use western modern art as a template. It is mainly reflected in the large-scale introduction of western thoughts into China after the reform and opening up, and the change in social ideology after China ended the "Cultural Revolution". And bring about a series of cultural changes. With the development of Chinese society under the pattern of reform and opening up and globalization, modern western art has been studied, imitated, transplanted, grafted and integrated from the aspects of spiritual concept, image language and so on. With the development of Chinese contemporary art itself, Chinese contemporary artists gradually return to the creative exploration of Chinese cultural resources and local context in the process of artistic creation, and begin the initial practice of surpassing the western template. Based on the analysis of the concrete artistic ideas and images of the concrete artists, this paper explains how Chinese contemporary artists learn from the western templates and how to transcend the western templates. Then it puts forward how to reconstruct the values and discourse system of Chinese contemporary art under the background of postcolonial culture and the global world structure.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2010
【分類號(hào)】：J120.9

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 王東輝;中國當(dāng)代公共藝術(shù)的現(xiàn)狀、問題與對(duì)策[D];中國藝術(shù)研究院;2012年

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本文編號(hào)：2015323