本文選題：“80后” + 卡通情結(jié)�。� 參考：《湖南師范大學(xué)》2010年碩士論文

【摘要】： 當(dāng)代中國,動(dòng)漫化或卡通化的視覺語言和符號(hào)在各種藝術(shù)展覽和藝術(shù)作品中如雨后春筍一般,屢見不鮮。很多年輕的藝術(shù)家喜歡將“卡通”元素融入到個(gè)人藝術(shù)創(chuàng)作中,經(jīng)過一段時(shí)間的努力和嘗試,形成了一定的藝術(shù)風(fēng)格,創(chuàng)作形式也日漸多樣化。 從一些數(shù)據(jù)的統(tǒng)計(jì)和我所留心注意的展覽及作品可以看出,運(yùn)用這種卡通化視覺語言的藝術(shù)家們很大一部分出生于1980年以后。我們親昵地稱他們?yōu)椤?0后”,有人試圖用描述性的筆墨來勾勒這代人的群像,什么“卡通一代”、“果凍一代”、“QQ一代”、“虛擬一代”等,這代年輕藝術(shù)家有著獨(dú)特的“卡通情結(jié)”,并在卡通漫畫這一圖像實(shí)踐領(lǐng)域里不斷創(chuàng)新。他們是成長于卡通文化和大眾文化的一代,在包括架上繪畫、雕塑、裝置、多媒體藝術(shù)等各個(gè)領(lǐng)域進(jìn)行嘗試和創(chuàng)作,作品從形式到內(nèi)容都反映了動(dòng)漫文化對(duì)他們的影響。 在大眾文化、消費(fèi)文化、傳統(tǒng)文化成為藝術(shù)家拓展藝術(shù)語言的今天,泛卡通藝術(shù),作為當(dāng)代的新藝術(shù)形式,其圖像實(shí)踐有著根本的原因和意義。本文對(duì)當(dāng)代藝術(shù)所出現(xiàn)的泛卡通的圖像實(shí)踐現(xiàn)象加以淺談,試圖通過分析技術(shù)革命導(dǎo)致的社會(huì)變革、電視媒體的發(fā)展以及卡通所帶來的“美學(xué)”概念對(duì)“80后”卡通化藝術(shù)潮流的影響,探討“80后”一代的特征以及和卡通化藝術(shù)潮流之間的聯(lián)系；日本、歐美動(dòng)漫文化與“80后”的卡通化藝術(shù)潮流之間的關(guān)系；在中國當(dāng)代藝術(shù)中卡通式藝術(shù)的發(fā)展和表現(xiàn)；聯(lián)系到當(dāng)代卡通繪畫的代表人物及作品等方面來分析泛卡通繪畫現(xiàn)象,文章由現(xiàn)象出發(fā),分析了“卡通”因素的藝術(shù)作品的特點(diǎn)和現(xiàn)代社會(huì)消費(fèi)情結(jié)下,“卡通”對(duì)中國年輕一代藝術(shù)家的影響及由此產(chǎn)生的將“卡通”元素與傳統(tǒng)藝術(shù)創(chuàng)作相結(jié)合的這種現(xiàn)象的合理性。當(dāng)然,“80后”還很年輕,還要不斷努力和創(chuàng)新,豐富其藝術(shù)語言,拓展其藝術(shù)表現(xiàn)形式和藝術(shù)道路。
[Abstract]:In contemporary China, the visual language and symbols of animation or cartonization are often seen in various art exhibitions and works of art. Many young artists like to incorporate "cartoon" elements into their personal artistic creation. After a period of effort and attempt, a certain artistic style has been formed, and the forms of creation have become increasingly diversified. From some statistics and the exhibitions and works I've been looking for, a large proportion of the artists who use this cartonized visual language were born after 1980. We affectionately call them "post-80s," and some people try to use descriptive pen and ink to outline the group images of this generation, what "cartoon generation", "jelly generation", "QQ generation", "virtual generation", etc. This generation of young artists has a unique cartoon complex and has been innovating in the field of cartoon image practice. They are a generation growing up in cartoon culture and popular culture. They try and create in various fields, including frame painting, sculpture, installation, multimedia art and so on. The works reflect the influence of animation culture on them from form to content. Nowadays, when popular culture, consumer culture and traditional culture have become artists to expand their artistic language, pan-cartoon art, as a new art form, has the fundamental reason and significance in its image practice. This paper briefly discusses the practical phenomenon of pan-cartoon images in contemporary art, and tries to analyze the social changes caused by the technological revolution. The development of TV media and the influence of the concept of "aesthetics" brought by cartoons on the art trend of "post-80s" cartonization, the characteristics of the "post-80s" generation and the relationship between the "post-80s" generation and the art trend of Katonghua are discussed. The relationship between the cartoon culture of Europe and the United States and the art trend of "post-80s" cartoon art; the development and expression of cartoon art in contemporary Chinese art; and the analysis of the phenomenon of pan-cartoon painting in relation to the representative characters and works of contemporary cartoon painting. Based on the phenomenon, this paper analyzes the characteristics of the art works of the "cartoon" factor and the consumption complex in the modern society. The influence of Cartoon on Chinese Young artists and the rationality of the combination of Cartoon elements and traditional Art creation. Of course, the post-80s is still very young, and must continue to work hard and innovate, enrich its artistic language, expand its art expression and art road.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J120

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