【摘要】：藝術(shù)的觀看不再是單單依賴觀念與圖示所提供的信息,而是可以從多個維度出發(fā),多元的觀看。立體派擺脫了對筆跡模仿物像的審美,開啟了智性觀看的先河�，F(xiàn)如今,觀眾也可以從技術(shù)美學(xué)的美學(xué)角度,來解放針對作品觀念風(fēng)格的慣性觀看模式。美學(xué)界談?wù)撁缹W(xué)時,技術(shù)美學(xué)很少被談?wù)?常處于缺席狀態(tài)。“人人都是藝術(shù)家”的觀點(diǎn)是被德國觀念藝術(shù)家約瑟夫·博伊斯(Joseph Beuys)提出的,認(rèn)為每個人都可以參與到藝術(shù)中來,藝術(shù)不是藝術(shù)家的專利,藝術(shù)創(chuàng)作是所有人都可以享有的。在觀念上消除了藝術(shù)與生活的界限,消解了技術(shù)在藝術(shù)創(chuàng)作中的重要性,甚至要將技術(shù)排斥在藝術(shù)生產(chǎn)之外。其實(shí),新的藝術(shù)生產(chǎn)技術(shù)的有效運(yùn)用,有利于改造舊的藝術(shù)生產(chǎn)方式與感知方式。而運(yùn)用技術(shù)過程中帶來的審美價值被認(rèn)為是技術(shù)美,它是美的深層的東西。并且就美學(xué)而言,如果只談?wù)撍囆g(shù)在人的道德、行為所表現(xiàn)的美,就會顯得過于膚淺。技術(shù)愈純熟,就愈能解決目的性與規(guī)律性的對峙,有目的的運(yùn)用技術(shù)的合乎規(guī)律性的特征,就有益于達(dá)到自由的形式,達(dá)到美的境界。本文主要圍繞著“技術(shù)美學(xué)”,通過對技術(shù),工匠精神,術(shù)以載道進(jìn)行分析,逐步探討中國當(dāng)代藝術(shù)中的“技巧”的重要性與技術(shù)美學(xué),旨在為藝術(shù)作品品藻的尺度和智性觀看提供一個可能的入口。本文共分為六個章節(jié):第一個章節(jié)闡釋技術(shù)美學(xué)的概念,同時表述其在當(dāng)代藝術(shù)中的技術(shù)美學(xué)及創(chuàng)作實(shí)踐研究論題的目的和意義。第二個章節(jié)分析技術(shù)與藝術(shù)的關(guān)系,在藝術(shù)的生產(chǎn)關(guān)系中分析技術(shù),工匠精神,術(shù)以載道,闡明技術(shù)的作用。技術(shù)是人們解決問題的方法,技術(shù)愈純熟,就愈能解決目的性與規(guī)律性的對峙,有目的的運(yùn)用技術(shù)的合乎規(guī)律性的特征,就可達(dá)到自由的形式,達(dá)到美的境界。第三個章節(jié)談?wù)撁缹W(xué)的基本定義與技術(shù)美學(xué)的概念。技術(shù)美學(xué)是存在且有審美價值的,了解技術(shù)美學(xué),有利于在藝術(shù)形式多樣復(fù)雜的當(dāng)代藝術(shù)的觀看中,尋得一個可以品藻的尺度和智性觀看的一個入口。第四個章節(jié)結(jié)合中國當(dāng)代的發(fā)生與近十年間,畫廊、美術(shù)館、藝術(shù)品拍賣營造出的中國當(dāng)代藝術(shù)繁榮現(xiàn)狀分析中國當(dāng)代藝術(shù)中的技術(shù)美學(xué)。第五個章節(jié)結(jié)合個人作品分析技術(shù)美學(xué)在作品中的存在以及對個人作品創(chuàng)作的影響。第六個章節(jié)總結(jié)技術(shù)美學(xué)在當(dāng)代藝術(shù)中所表現(xiàn)出的意義與局限。
[Abstract]:The view of art no longer relies solely on the information provided by ideas and diagrams, but can be viewed from multiple dimensions. Cubism got rid of the aesthetic of imitating objects in handwriting and opened the way for intellectual viewing. Nowadays, the audience can also liberate the habitual viewing mode according to the concept and style of the works from the aesthetic point of view of the technical aesthetics. When aesthetic circles talk about aesthetics, technical aesthetics is seldom talked about and often absent. The idea that everyone is an artist is put forward by the German conceptual artist Joseph Boyce (Joseph Beuys), who believes that everyone can participate in art and that art is not the artist's patent. Artistic creation is something everyone can enjoy. It eliminates the boundary between art and life, dispels the importance of technology in artistic creation, and even excludes technology from artistic production. In fact, the effective use of the new art production technology is conducive to the transformation of the old art production mode and perception. The aesthetic value brought by the application of technology is regarded as the beauty of technology, and it is the deep-seated thing of beauty. And as far as aesthetics is concerned, it will be too superficial to talk only about the beauty of art in man's morality and behavior. The more sophisticated the technology is, the more it can resolve the confrontation between purpose and regularity, and the more regular the application of technology is, the more beneficial it will be to achieve the form of freedom and the state of beauty. This article mainly revolves around "technical aesthetics", through the analysis of technology, craftsman spirit, technique to carry on the Tao, discusses the importance and the technical aesthetics of "skill" in Chinese contemporary art step by step. The aim is to provide a possible entrance to the scale and intellectual viewing of artistic works. This paper is divided into six chapters: the first chapter explains the concept of technical aesthetics and the purpose and significance of its technical aesthetics and creative practice in contemporary art. The second chapter analyzes the relationship between technology and art, and analyzes technology, craftsmanship and art in the relations of production of art to illustrate the role of technology. Technology is a method to solve problems. The more sophisticated the technology is, the more it can solve the confrontation between purpose and regularity, and the more regular the application of technology is, the more it can achieve the form of freedom and the realm of beauty. The third chapter discusses the basic definition of aesthetics and the concept of technological aesthetics. Technological aesthetics exists and has aesthetic value. Understanding technical aesthetics is conducive to finding an entrance to the viewing of contemporary art with various forms and complex forms of art, which can be viewed in terms of scale and wisdom. The fourth chapter analyzes the technological aesthetics of Chinese contemporary art by combining the occurrence of Chinese contemporary art and the prosperity of Chinese contemporary art created by galleries art galleries and art auctions in the last ten years. The fifth chapter combines personal works to analyze the existence of technical aesthetics in the works and the impact on the creation of individual works. The sixth chapter summarizes the significance and limitation of technical aesthetics in contemporary art.
【學(xué)位授予單位】：四川美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J01

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本文編號：2467098