【摘要】： 80年代,西方現(xiàn)代主義的各種藝術(shù)形式及哲學(xué)思考通過各種渠道涌入中國,此時中國的思想政治意識這些無形的“形態(tài)”還禁錮著人們的思想和行為。由于美學(xué)和哲學(xué)的特殊關(guān)系以及美學(xué)在當時所處的特殊位置,具有人文精神的知識分子和藝術(shù)家們就往往借美學(xué)來表達自己的自由思考和批判意識。年青的藝術(shù)家們一方面吸收借鑒可利用的風格、語言來構(gòu)筑自己的圖式：印象派、表現(xiàn)主義、立體主義、超現(xiàn)實主義等各種現(xiàn)代繪畫風格。從抽象主義到野獸派,達達主義到波普藝術(shù),幾乎所有的西方現(xiàn)代、后現(xiàn)代藝術(shù)和美學(xué)流派都可以在這里獲得共鳴。另一方面藝術(shù)家們也用西方現(xiàn)代美學(xué)思想來豐富自己的理論：黑格爾的“時代精神”、尼采的絕對意志和柏格森的非理性直覺等強調(diào)直覺與生命力的書,也包括薩特、海德格爾的存在、親在和弗洛伊德關(guān)于夢和潛意識的論著,羅杰·弗萊、克萊夫·貝爾以及格林伯格的形式主義美學(xué)和形式主義批評,甚至包括艱澀難懂的羅素和維特根斯坦的哲學(xué)著作。而同期在中國學(xué)術(shù)界流行的“文化熱”、“美學(xué)熱”也都可以在這些思潮中尋找到恰當?shù)乃囆g(shù)、視覺回應(yīng)。吳冠中的形式主義批判引起的關(guān)于藝術(shù)的內(nèi)容和形式的大討論；民間藝術(shù)團體的“星星美展”對“二元對立論”及“精英文化”的消解和顛覆；美學(xué)研究的泛化和新潮美術(shù)濫瘍的對應(yīng)。此時的美學(xué)思潮與中國前衛(wèi)藝術(shù)相互影響、互動共生,這些哲學(xué)、美學(xué)思索和某種理念不僅在前衛(wèi)藝術(shù)群體的宣言中表現(xiàn)出來,也積極地反映在作品中,以致有人將這種現(xiàn)象稱之為“畫家想當半個哲學(xué)家”。 本文共分四個部分,第一部分是選題理由,詳細闡釋了選題意義及國內(nèi)外研究現(xiàn)狀。第二部分是對西方美學(xué)理論的演進與藝術(shù)關(guān)系的探討。第三部分簡要分析了中國現(xiàn)代美學(xué)三次重要的美學(xué)思潮及原因。第四部分是本文的重點,闡述通過80年代中國現(xiàn)代主義藝術(shù)三次重要的事件,反映出80年代的美學(xué)思潮與中國現(xiàn)代主義藝術(shù)相互影響、互動共生。
[Abstract]:In the 1980s, various artistic forms and philosophical thinking of western modernism poured into China through various channels. At this time, the invisible "forms" of Chinese ideological and political consciousness still confined people's thoughts and behaviors. Because of the special relationship between aesthetics and philosophy and the special position of aesthetics at that time, intellectuals and artists with humanistic spirit often express their free thinking and critical consciousness through aesthetics. On the one hand, young artists draw on available styles and language to construct their own schemata: Impressionism, expressionism, cubism, surrealism and other modern painting styles. Almost all western modern, post-modern and aesthetic schools, from abstraction to beast, Dadaism to pop art, can be resonated here. On the other hand, artists also enrich their theories with modern western aesthetic thoughts: Hegel's "spirit of the times", Nietzsche's absolute will and Bergson's irrational intuition, which emphasize intuition and vitality, including Sartre. Heidegger's existence, his works with Freud on dreams and subconscious, Roger Fry, Clive Bell, and Greenberg's formalist aesthetics and formalistic criticism. Even the arcane philosophical works of Russell and Wittgenstein. Meanwhile, the "culture craze" and "esthetics craze" popular in Chinese academic circles can also find appropriate artistic and visual responses in these trends of thought. Wu Guanzhong's critique of formalism leads to a great discussion on the content and form of art, the deconstruction and subversion of "dual opposites" and "elite culture" by folk art groups "Star Art Exhibition"; The generalization of aesthetic research corresponds to the choice of modern art. At this time the aesthetic trend of thought and Chinese avant-garde art interact with each other. These philosophies, aesthetic thoughts and some ideas are not only reflected in the avant-garde art group's manifesto, but also positively reflected in the works. Some people call this phenomenon "the painter wants to be half a philosopher." This paper is divided into four parts, the first part is the reason for the topic, explained the significance of the topic and domestic and foreign research status. The second part discusses the evolution of western aesthetic theory and the relationship between art. The third part briefly analyzes the three important aesthetic trends and reasons of modern Chinese aesthetics. The fourth part is the focal point of this paper. Through the three important events of Chinese modernism art in 1980s, it reflects the interaction and symbiosis between the aesthetic trend of 80's and Chinese modernism art.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：I01

【引證文獻】

相關(guān)碩士學(xué)位論文 前1條

1 肖丹;論星星美展的在場狀態(tài)[D];中國藝術(shù)研究院;2013年

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本文編號：2216838