【摘要】：藝術(shù)市場的流通系統(tǒng)是由藝術(shù)家、批評家、經(jīng)營者(或經(jīng)紀(jì)人)、收藏家、博物館和研究者組成的。本文以藝術(shù)市場的流通系統(tǒng)的各主要環(huán)節(jié)為線索,對上世紀(jì)90年代以來的中國油畫市場化進(jìn)程進(jìn)行了梳理,進(jìn)而對藝術(shù)市場的一些現(xiàn)象與問題進(jìn)行了較為深入的闡述。 在涉及的諸多問題中,本文尤其對油畫市場中介機(jī)構(gòu)的興起、進(jìn)入國內(nèi)市場的油畫作品類別以及經(jīng)濟(jì)發(fā)展對收藏群體形成的作用三個問題進(jìn)行了重點(diǎn)闡述。 藝術(shù)的中介機(jī)構(gòu)分為一級市場和二級市場,一級市場是畫廊,二級市場包括拍賣行和博覽會。國外的藝術(shù)市場一般都是先有畫廊,后有拍賣行。中國的畫廊從上世紀(jì)80年代出現(xiàn)以后,就一直很不景氣,藝術(shù)品拍賣行直到90年代初才出現(xiàn),現(xiàn)在卻比畫廊火爆得多,似乎大家買畫都要先去拍賣行。所以說中國的藝術(shù)市場中的中介機(jī)構(gòu)乃至整個藝術(shù)市場雖在上升但還在逐漸整合階段,遠(yuǎn)遠(yuǎn)沒有成熟。 油畫在中國的發(fā)展只有一百多年的歷史,作品的積累遠(yuǎn)不如中國書畫豐富,總體上可分為五大類:以徐悲鴻、林風(fēng)眠為代表的20世紀(jì)前期留學(xué)海外的早期油畫家作品;以趙無極、吳冠中為代表的具有東方傳統(tǒng)品格的海內(nèi)外華人油畫家作品;新古典傾向的學(xué)院派油畫作品;多元化的當(dāng)代藝術(shù)油畫作品以及革命歷史題材油畫作品。 經(jīng)濟(jì)的發(fā)展導(dǎo)致社會對藝術(shù)產(chǎn)品的消費(fèi)需求的增加,藝術(shù)收藏者大量增加,使藝術(shù)的市場化成為可能。本文通過人均國民生產(chǎn)總值(GDP)、公眾消費(fèi)的恩格爾系數(shù)、中產(chǎn)階級的形成三個方面的分析印證了中國經(jīng)濟(jì)發(fā)展水平已初步具備了藝術(shù)市場啟動的基本條件的事實(shí)。 “文不言商,士不理財”的時代已經(jīng)過去,藝術(shù)家正以積極的態(tài)度融入市場,然而藝術(shù)家在商業(yè)化中的迷失,藝術(shù)商業(yè)化所帶來的藝術(shù)水準(zhǔn)的降低,中國藝術(shù)市場的不規(guī)范導(dǎo)致的市場混亂及某些繁榮假象等都是不可回避的問題。本文撰寫的初衷就是深入研究藝術(shù)市場中的各個環(huán)節(jié)及各種相關(guān)因素,為藝術(shù)家的定位、市場的規(guī)范提供參考。當(dāng)前國內(nèi)市場化、產(chǎn)業(yè)化是個熱門話題,但大部分研究集中在影視行業(yè)中,造型藝術(shù)領(lǐng)域雖然多有人談?wù)?但目前作為主要研究對象的論著、文章并不多。本文以油畫市場作為視角,以小窺大,對藝術(shù)市場化的研究具有現(xiàn)實(shí)意義。 文中運(yùn)用了社會學(xué)、統(tǒng)計學(xué)、田野調(diào)查及比較的方法,力圖使本文結(jié)構(gòu)清晰、資料詳實(shí)、觀點(diǎn)明確。
[Abstract]:The art market circulation system is composed of artists, critics, operators (or brokers), collectors, museums, and researchers. Based on the main links of the circulation system of the art market, this paper combs the marketization process of Chinese oil painting since the 1990s, and then expounds some phenomena and problems of the art market. Among the many problems involved, this paper focuses on three issues: the rise of oil painting market intermediary organizations, the types of oil paintings entering the domestic market and the role of economic development in the formation of collectible groups. Art intermediaries are divided into primary market and secondary market, primary market is gallery, secondary market includes auction house and fair. Foreign art markets are generally first there are galleries, then auction houses. Chinese galleries have been in recession since the 1980s, and art auction houses, which did not appear until the early 1990s, are now far more popular than galleries, as if they had to go to auction houses first. Therefore, the intermediary institutions and even the whole art market in China's art market are rising, but still in the stage of gradual integration, far from mature. The development of oil painting in China is only more than one hundred years of history, the accumulation of works is far less abundant than Chinese painting and calligraphy, as a whole can be divided into five categories: Xu Beihong, Lin Fengmian as the representative of the early 20th century overseas oil painters; Represented by Zhao Wuji and Wu Guanzhong, Chinese oil painters at home and abroad with oriental traditional character; academic-school oil paintings with neo-classical tendencies; diversified contemporary art oil paintings; and oil paintings with revolutionary historical themes. The development of economy leads to the increase of consumption demand of art products and the increase of art collectors, which makes the art marketization possible. Through the analysis of Engel's coefficient of (GDP), public consumption and the formation of middle class, this paper confirms the fact that China's economic development level has preliminarily possessed the basic conditions for the initiation of the art market. The era of "no business, no money" has passed, and artists are integrating into the market with a positive attitude. However, the artists are lost in commercialization, and the artistic standards brought about by the commercialization of art have been lowered. The market chaos and some prosperity illusion caused by the nonstandard of Chinese art market are unavoidable problems. The original intention of this paper is to study the various links and related factors in the art market in order to provide a reference for the artist's orientation and the standard of the market. At present the domestic marketization industrialization is a hot topic but most of the research is concentrated in the film and television industry. Although there are many people talking about the plastic arts field there are few articles as the main research object at present. This article takes the oil painting market as the angle of view, with the small peek at the big, has the realistic significance to the art marketization research. In this paper, sociological, statistical, field investigation and comparison methods are used to make the structure clear, the data detailed and the viewpoint clear.
【學(xué)位授予單位】：清華大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2005
【分類號】：J213;J124

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 桑田;從當(dāng)代藝術(shù)市場現(xiàn)狀看畫廊的美術(shù)史觀[D];汕頭大學(xué);2011年

2 趙金圓;中國油畫市場對油畫創(chuàng)作的影響[D];哈爾濱師范大學(xué);2012年

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本文編號：2398240