20世纪90年代中国艳俗艺术研究

发布时间：2018-04-14 12:12

本文选题：艳俗艺术 + 反讽　；参考：《广西师范大学》2010年硕士论文

【摘要】： 艳俗艺术作为20世纪90年代以来中国文化的特征之一而被世人广泛关注。经济全球化和信息化是当今世界经济和社会发展的大趋势,不管人们是否赞成和支持,都很难改变这种客观趋势的存在与发展。随着世界经济的一体化发展和国际交往的日益频繁,国际文化传播和整个世界文化格局都发生着翻天覆地的变化。在机遇和挑战面前,我国经济保持较快发展,综合国力不断增强,国际地位日益提高,我国民族文化在世界文化格局中也扮演着很重要的角色。20世纪90年代以来,随着中国社会主义市场经济体制的逐步确立,引发中国社会整体的转型,社会转型体现在文化、艺术等各方面,尤其体现在艺术方面,表现最为突出的是审美文化的转型。市场这把双刃剑在带来经济繁荣的同时也带来了人们对人文精神的重新思考。艳俗艺术是在中国特定的政治、经济、文化和社会等背景下产生的新的艺术形式。上世纪90年代中期,中国大陆出现了艳俗艺术这一新的艺术形态,与政治波普、玩世现实主义一起成为中国艺术发展的大景观。它们不同程度地表现了中国文化的发展状况,也是国内不同阶段的艺术家对当代文化思考的产物。特别是艳俗艺术的出现,成为国内当代艺术家自觉自律思考问题的开始。在中国消费文化语境下,艳俗艺术对大众现实生活的思考和艺术表现在很多方面可能还不够成熟,但它无疑还是切中了当时文化的要害:世俗、对西方文化不求甚解地模仿和移植,从这一点来看,艳俗艺术成为中国上世纪90年代艺术的代表之一。政治波普给了艳俗艺术最大的影响和借鉴,但它以对文化大革命的记忆为基础,深深地打上了那个时代的烙印;以方力钧为代表的玩世现实主义是那一代人对生活中无聊、空虚感受的艺术表达,它的荒诞样式对艳俗艺术有很明显的启发作用;卡通一代作为比艳俗艺术出现较晚的艺术形式,受到“艳俗”现象影响比较大,但由于作者自身身份的局限和地域文化的差异,只能是90年代艺术的一个分支,并不能成为一个响亮的开始。鉴于以上艳俗艺术的重要性,本研究者在研究方法方面主要运用文献研究法。首先,通过对近些年国内外诸多学者对20世纪90年代中国艳俗艺术所作的研究、出版著作、文献资料进行系统地搜集、整理,并进行较为深刻地分析和研究,以获取关于90年代艳俗艺术发展状况及其问题的研究信息。其次,图像资料的搜集主要包括观看与本论文主题有关的画展和来自画册、美术杂志等渠道的艳俗艺术图片。通过观看艳俗艺术展览和欣赏、分析图片,进而较深入地了解这一艺术风格,最后提出本论文的假设,运用各种思维方法,形成自己的研究体系和框架。本论文主要分为四个部分:第一部分,深入研究中国艳俗艺术产生的背景,主要从艳俗艺术产生的时代背景和文化背景这两个层面进行深入分析。时代背景包括中国消费文化日益盛行、大众审美倾向世俗化;文化背景包括西方艺术思潮、中国传统文化和国内当代美术思潮。第二部分分别介绍了“艳俗艺术”的由来,较为详尽地分析了几位艳俗艺术家具有代表性的作品,并且从色彩、题材、材料和描绘手法各方面概括艳俗艺术作品的基本特征。艳俗艺术在色彩的使用上,向民间美术和流行文化学习,采用未经混合的基本色相(原色),高明度、高纯度的颜色和强烈的色彩对比,达到醒目、刺激、“艳若桃花”的艺术效果,表达大众在消费文化影响下“农民式的暴发趣味”。在题材上,艳俗艺术家选用较普通化、日常化,贴近当代普通民众生活的典型事物符号,如萝卜、白菜、美食大餐等。在材料的选择上,艺术家为了更好地表达创作观念,除了使用传统的架上绘画形式以外还尝试使用民间美术和流行文化所使用的材料,如剪纸、年画、刺绣、春联、印染、泥塑、漆画、陶瓷等。他们运用平面化、广告化的方式处理画面,达到新年画、新宣传画的视觉效果。第三部分从艳俗艺术的积极意义和消极意义两个维度进行评价。第四部分探讨艳俗艺术对中国当代艺术的启示。通过对20世纪90年代中国艳俗艺术这种典型的艺术形式进行研究可以帮助我们对这种艺术流派的特点和发展状况等有较清晰的认识,为中国当代艺术的发展提供可供借鉴的经验。本论文主要提出了四个观点:首先,艳俗艺术家既不是严肃的批评家更不是政治家,他们不愿意以激进主义的态度表现出一副说教的面孔,也无法改变当时的社会现状和文化语境,仅仅能够使用反讽的艺术手段使大众麻木的神经重新敏感起来。第二,艳俗艺术对寻求中国当代艺术自身的发展方向进行了初步探索。第三,艳俗艺术将日益流行的消费文化作为中国当代艺术关注和着重表现的对象。第四,消费文化的盛行也向中国艳俗艺术的创作提出新的挑战。
[Abstract]:Gaudy art as one of the characteristics of China culture since 1990s has been extensive attention all over the world. Economic globalization and informatization is the trend of world economic and social development, regardless of whether people agree and support, it will be very difficult to change the trend of existence and development. With the integration of world economy development and the increasingly frequent international exchanges, international cultural communication and the world cultural patterns are undergoing changes in turn the world upside down. In the face of opportunities and challenges, China's economy has maintained rapid development, comprehensive national strength and international status increasing, since our national culture plays a very important role in the.20 century 90s world cultural patterns, along with the gradual establishment China system of socialist market economy, caused the transformation China of whole society, social transformation is reflected in all aspects of culture, art, especially Reflected in the arts, the most prominent is the aesthetic and cultural transformation. Market as a double-edged sword, while bringing the economic prosperity has also brought a rethinking of the human spirit. Gaudy art is in the economic Chinese specific political, and new forms of art have a cultural and social context. In mid 90s, China, the gaudy art as a new art form, and political pop, Cynical Realism become the landscape Chinese art development. Their different degree show development Chinese culture, is also the different stages of the artists of contemporary culture, the product of thought. Especially brilliant folk art, become domestic artists self-consciously thinking began Chinese. In the context of consumer culture, gaudy art of public life thinking and artistic performance in many ways May is not mature enough, but it is the point that the culture of the western culture: secular, imitation and transplant read without thorough understanding, from this point of view, gaudy art has become one of the representatives in the 90s China century. The art of political pop to gaudy art greatly influence and reference, but it takes on culture the memory based, deeply marked with the brand of that era; with Fang Lijun as the representative of the Cynical Realism is the generation of boring life, the art expression of emptiness, absurd style it has a significant impact on gaudy art; cartoon generation as gaudy art later forms of art, influenced by "gaudy" phenomenon is relatively large, but because of differences in the limitations of the author own identity and culture, is only a branch of art in 90s, and cannot be a resounding start.
In view of the importance of gaudy art, the researchers in the study mainly through literature research method. First of all, according to the study published in recent years, many scholars at home and abroad on 1990s China gaudy art works, literature data were systematically collected, sorted, and profound analysis and research, in order to obtain Study on the development of information and problem of 90s gaudy art. Secondly, the image data collected include viewing and the related theme of the exhibition and from the pictures, art magazines channels gaudy art picture. By watching the gaudy art exhibition and appreciation, analysis of images, and then more in-depth understanding of the artistic style finally, put forward the hypothesis of this paper, using a variety of ways of thinking, form their own research system and framework.
This thesis is mainly divided into four parts: the first part, in-depth study has Chinese gaudy art background, mainly from gaudy art background and cultural background of the two aspects of in-depth analysis. The background includes Chinese consumption culture becomes more and more popular, popular aesthetic tendency of secularization; cultural background includes Western art ideas. China domestic traditional culture and contemporary art trend. The second part introduces the origin of "gaudy art", a more detailed analysis of the several gaudy artist representative works, and from the color, theme, basic characteristics of various materials and summary descriptions of gaudy art works in gaudy art. The use of color, to folk art and popular culture study, not mixed with the basic hue (color), smart, high purity color and strong color contrast, achieve eye-catching, stimulating, "If brilliant artistic effect of public expression, under the influence of the consumer culture" farmer nouveau riche ". In the theme, gaudy artists use a common, everyday, symbols, a contemporary of the common people's life such as radish, cabbage, delicacy meal. In the choice of materials. In order to better express the creative ideas of artists, in addition to using the traditional easel painting form also try to use the use of folk art and popular culture materials, such as paper cutting, New Year paintings, embroidery, printing and dyeing, couplets, clay sculpture, painting, ceramics etc.. They use the plane, the way of advertising picture, reach New Year paintings the visual effect of new posters. To evaluate the two dimensions of the third part from the positive significance of gaudy art and negative significance. The fourth part discusses the Enlightenment of Chinese gaudy art of contemporary art.
Study can help us on this art's characteristics and development conditions, have a clear understanding of the 1990s Chinese gaudy art typical art form, to provide reference for the development of China contemporary art. This paper puts forward four points of view: firstly, gaudy artists are not serious critics nor politicians, they don't want to show the attitude of radical preaching a face, can not change the social status and cultural context, can only use the art of irony means for the public to re sensitize the nerve numbness. Second, conducted a preliminary exploration for the development direction of contemporary art China lairy third. Art, gaudy art will become increasingly popular consumer culture as Chinese contemporary art attention and focus on performance. Fourth, consumer culture The popularity of it also poses new challenges to the creation of Chinese colourful art.

【学位授予单位】：广西师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J120.9

【参考文献】