本文選題：藝術(shù)　切入點(diǎn)：挪用　出處：《清華大學(xué)》2005年碩士論文

【摘要】： 挪用現(xiàn)象在藝術(shù)領(lǐng)域十分普遍,可以說沒有挪用就沒有藝術(shù),而關(guān)于挪用的理論在我國卻未曾得見,在國外也只是只言片語,系統(tǒng)的論述也未被發(fā)現(xiàn)。本文意圖通過對(duì)挪用的概念、內(nèi)涵、類別的總結(jié)以及中西方哲學(xué)的思考,并通過實(shí)證研究和歷史分析,探討挪用的成因和機(jī)理,試圖找出挪用在藝術(shù)中的規(guī)律,進(jìn)行一次破冰之旅。 挪用可以在多種、多重意義上使用。通過挪用對(duì)象、挪用與摹仿、挪用與復(fù)制、剽竊的辨析,文章試圖揭示其豐富的內(nèi)涵。通過師古人、師造化和師夷三種不同的維度的理論分析,文章還試圖揭示挪用在各民族文化交流和文化傳承方面的意義。通過對(duì)挪用與藝術(shù)創(chuàng)造關(guān)系的研究,作者試圖進(jìn)一步闡述挪用深刻的寓意以及多重關(guān)聯(lián)。對(duì)挪用的技巧分析,我們不難發(fā)現(xiàn)在藝術(shù)中挪用對(duì)各個(gè)領(lǐng)域的影響和意義,并發(fā)現(xiàn)其一些規(guī)則化、技藝化的發(fā)展趨勢(shì)。 也許挪用是藝術(shù)本身抑或只是一種藝術(shù)創(chuàng)作手段的追問永遠(yuǎn)都沒有答案,也許挪用與摹仿、挪用與剽竊的關(guān)系并非作者一時(shí)能夠理清,但對(duì)挪用在藝術(shù)領(lǐng)域的理性思考卻意義深遠(yuǎn)。文章通過對(duì)繪畫、攝影、書法和電影等領(lǐng)域的實(shí)證分析,研究了挪用在藝術(shù)各門類的橫向存在和交叉影響,以及從縱向歷史發(fā)展的角度,探討了挪用在中西方藝術(shù)流變中的表現(xiàn)和作用。作為一名藝術(shù)理論的學(xué)習(xí)者和藝術(shù)實(shí)踐者,作者不僅注重實(shí)證研究和歷史分析,還試圖通過比較研究來揭示挪用的整個(gè)藝術(shù)生活場(chǎng)景。不僅對(duì)挪用在古典藝術(shù)和現(xiàn)代藝術(shù)的生存狀況進(jìn)行了描述,還聚焦于挪用在后現(xiàn)代藝術(shù)等當(dāng)代藝術(shù)中正反兩個(gè)方面的表演,并將目光投向挪用在未來藝術(shù)領(lǐng)域的發(fā)展趨向。
[Abstract]:The phenomenon of misappropriation is very common in the field of art. It can be said that there is no art without misappropriation, but the theory of misappropriation has not been found in our country.This paper intends to explore the causes and mechanism of misappropriation through the summary of the concept, connotation, category and philosophy of China and the West, and through empirical research and historical analysis, in order to find out the law of misappropriation in art.On an ice-breaking trip.Misappropriation can be used in many, many ways.This paper tries to reveal the rich connotation of the object of misappropriation, misappropriating and imitating, misappropriating and copying, plagiarism.Through the theoretical analysis of the three different dimensions of the ancients, the division and the division, the article also tries to reveal the significance of misappropriation in the cultural exchange and cultural inheritance of the various nationalities.Through the study of the relationship between misappropriation and artistic creation, the author tries to further expound the profound implication and multi-connection of misappropriation.It is not difficult to find out the influence and significance of misappropriation on various fields in art, and find the trend of regularization and artistry in the analysis of the skill of misappropriation.Perhaps there is no answer to the question whether misappropriation is art itself or is just a means of artistic creation. Perhaps the relationship between embezzlement and plagiarism cannot be clarified by the author for a time.However, the rational thinking of misappropriation in the field of art is of profound significance.Through the empirical analysis of painting, photography, calligraphy and film, this paper studies the horizontal existence and cross influence of misappropriation in various categories of art, as well as the perspective of vertical historical development.This paper probes into the expression and function of misappropriation in the evolution of Chinese and western art.As a learner and practitioner of art theory, the author not only pays attention to empirical research and historical analysis, but also attempts to reveal the whole art life scene of misappropriation through comparative study.This paper not only describes the living conditions of misappropriation in classical art and modern art, but also focuses on the performance of misappropriation in both positive and negative aspects of contemporary art, such as post-modern art, and focuses on the development trend of misappropriation in the field of future art.
【學(xué)位授予單位】：清華大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2005
【分類號(hào)】：J04

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本文編號(hào)：1684979