【摘要】：上世紀(jì)八十年代,隨著國(guó)門打開,世界各種藝術(shù)思潮也涌入國(guó)內(nèi),一時(shí)間,國(guó)內(nèi)的藝術(shù)領(lǐng)域出現(xiàn)了諸多出色的藝術(shù)作品�！鞍宋濉敝�,更是有大量西方的前衛(wèi)的藝術(shù)思潮、概念和形式涌入國(guó)門,藝術(shù)家和藝術(shù)愛(ài)好者們訊速地吸收了這些養(yǎng)分,催生出了許多優(yōu)秀的當(dāng)代作品。然而藝術(shù)理論方面,仍舊是“西為東用”,始終無(wú)法擺脫西方分裂型二元的思維模式。對(duì)于“西學(xué)東漸”,在西方美學(xué)概念占有主要話語(yǔ)權(quán)的當(dāng)下,中國(guó)傳統(tǒng)美學(xué)受到西方美學(xué)概念和中國(guó)當(dāng)代藝術(shù)的雙重壓力,越來(lái)越力不從心,漸漸地“失語(yǔ)”,向邊緣地帶游走,這很遺憾。時(shí)至今日,中國(guó)當(dāng)代藝術(shù)正以自己的特色和軌跡蓬勃發(fā)展,一種“不是之是”的獨(dú)特思維和感受總是出現(xiàn)在中國(guó)當(dāng)代藝術(shù)的優(yōu)秀藝術(shù)作品中。在中國(guó)當(dāng)代藝術(shù)的大背景下,前文已經(jīng)提到中國(guó)傳統(tǒng)美學(xué)已經(jīng)在中國(guó)當(dāng)代藝術(shù)的大環(huán)境下有“失語(yǔ)”之患,中國(guó)傳統(tǒng)美學(xué)將何去何從?所以,中國(guó)傳統(tǒng)美學(xué)的當(dāng)代轉(zhuǎn)化就顯得勢(shì)在必行,也十分重要。我們可以透過(guò)中國(guó)當(dāng)代藝術(shù)理論中最具有影響力之一的“意派”來(lái)談?wù)勚袊?guó)傳統(tǒng)美學(xué)的轉(zhuǎn)型。如果在西方二元對(duì)立的基礎(chǔ)上來(lái)看待、評(píng)論中國(guó)的當(dāng)下語(yǔ)境中的當(dāng)代藝術(shù),總感覺(jué)言不盡意,不能說(shuō)出其中微妙的、觀者與作者契合的關(guān)鍵。那么,解讀中國(guó)的當(dāng)代藝術(shù),特別是以東方的思維或方式呈現(xiàn)的藝術(shù)類型,一種不同于甚至超越于西方二元對(duì)立的、非線性的、能夠解讀藝術(shù)家的語(yǔ)意和語(yǔ)境的評(píng)論體系就顯得順理成章且尤為重要。本文探索從“道”至“象”,由“象”至“意象”,由“意象”至“意境”再至“意派”的提出,在這個(gè)過(guò)程中,中國(guó)傳統(tǒng)美學(xué)中各個(gè)時(shí)代都存在“意”與“意”的變體或者表征,這些“整”“一”的“意”,恰是中國(guó)傳統(tǒng)美學(xué)的內(nèi)核精神,筆者認(rèn)為“意派”緩和了解讀與中國(guó)傳統(tǒng)形式類似或者體現(xiàn)了某些東方思想的藝術(shù)形式時(shí)生硬挪用、無(wú)法與作者意圖契合的尷尬。作為一種“新的敘事方法的理論”以及“視覺(jué)藝術(shù)美學(xué)”,“意派”理論的建立對(duì)中國(guó)傳統(tǒng)美學(xué)的當(dāng)代轉(zhuǎn)化提供了新的可能性,也為中國(guó)的藝術(shù)評(píng)論打開了新的視角。
[Abstract]:In the eighties of last century, with the opening of the country, various trends of thought of art in the world also poured into the country. At one time, many outstanding works of art appeared in the field of art in our country. After the eighth Five-Year Plan, a large number of western avant-garde art trends, concepts and forms poured into the country, artists and art lovers quickly absorbed these nutrients, resulting in many excellent contemporary works. However, the art theory is still "the West for the East", always unable to get rid of the Western split dual mode of thinking. As for the "Western learning to the east", at a time when the western aesthetic concept holds the main right of speech, the Chinese traditional aesthetics is under the double pressure of the western aesthetic concept and the Chinese contemporary art, and is becoming more and more powerless and gradually "aphasia". It's a pity to swim to the edge. Up to now, Chinese contemporary art is developing vigorously with its own characteristics and track. A unique thinking and feeling of "not is" always appears in the excellent works of Chinese contemporary art. Under the background of Chinese contemporary art, it has been mentioned that Chinese traditional aesthetics has been suffering from "aphasia" in the general environment of Chinese contemporary art. Where will Chinese traditional aesthetics go? Therefore, the contemporary transformation of Chinese traditional aesthetics is imperative and very important. We can talk about the transformation of Chinese traditional aesthetics through one of the most influential theories of Chinese contemporary art. If we look at it on the basis of the dualistic opposition in the West, it is always felt that the Chinese contemporary art in the present context of China is not full of meaning and can not say the key to the agreement between the viewer and the author. Well, the interpretation of Chinese contemporary art, especially the type of art presented in an oriental way of thinking or mode, is a non-linear one that is different from or even beyond the dualistic opposition in the West. The commentary system which can interpret the artist's meaning and context is logical and important. This paper explores the proposition from "Tao" to "image", from "image" to "artistic conception" to "idealism". There are variations or representations of "meaning" and "meaning" in every era of Chinese traditional aesthetics. These "whole" and "one" meaning "are precisely the core spirit of Chinese traditional aesthetics. The author thinks that the "Yi School" alleviates the embarrassment that the interpretation is similar to the traditional form of China or reflects the artistic form of some oriental thoughts, which can not coincide with the author's intention. As a "theory of new narrative method" and "visual art aesthetics", the establishment of "Italy School" provides a new possibility for the contemporary transformation of Chinese traditional aesthetics, and also opens a new perspective for Chinese art criticism.
【學(xué)位授予單位】：大連工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J05

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