中国艺术展示空间的权力嬗变

发布时间：2018-08-04 14:05

【摘要】：随着社会的发展,空间越来越引起人们的关注。20世纪以前的年代可以说是一部时间的计数器,而当今的时代展现的更多的是与空间相关的内容。空间不仅仅是物理意义上的空间,它更是一个充斥着意识形态的空间。空间不是自然而然形成的,它是各种权力博弈的产物,受到各种利益群体的制约。当代对空间的研究不应该仅仅只是停留在空间的物理层面,人们更应该关注空间的生产过程。只有通过对空间社会意义的阐释,才会看到空间的产生过程中各种权力关系的博弈。作为空间的一种形式,艺术品的展示空间亦是如此,艺术品的收藏、评价以及艺术品的教育功能和艺术展示空间有着密切的关系,艺术家的活动与艺术品的展览也是与艺术展示空间密切互动的。对艺术品的区分不仅仅看其自身的价值,还要看其被放置的空间位置。同一物品放置的场所不同,其境遇和身份就会有很大的差异。本文基于中外空间理论,把对空间的研究拓展到了艺术领域,通过对中国艺术展示空间的分析来展现各种权力关系的交织与博弈。论文第一章主要是围绕“空间”展开的,首先介绍了空间的含义及空间理论,然后介入了展示空间这个概念。既然空间是社会关系的重要一环,那么就必然存在着权力与资本。第二章在权力与资本理论的基础上,着重分析了展示空间中的权力与资本,并对艺术展示空间的权力分配原则和发展进行了论述。第三章和第四章作为本文的论述重点,主要描述了中国传统展示空间和当代展示空间的权力分配。中国古代没有真正意义上的公共展示空间,传统展示空间主要受到皇权的影响,呈现出“藏”的特点,即私密性的、与大众相隔离的空间;但是在皇权之下有一股不可忽视的力量,即中国的知识分子,作为文人阶层占据了大量的文化资本,在庙堂之外建构了另一个雅集空间,并造就了手卷的独特艺术展示方式。当代展示空间因为受到中国民主进程的发展及市场经济的繁荣,无论是官方展示空间还是亚文化展示空间、私人展示空间都调整了自己的权力策略,“公共性”是其主要的特点,呈现出更加复杂的权力博弈。
[Abstract]:With the development of society, space has attracted more and more attention. The era before the 20th century can be said to be a counter of time. Space is not only a space in the physical sense, but also a space full of ideology. Space is not naturally formed, it is the product of various power games, restricted by various interest groups. The contemporary study of space should not only stay on the physical level of space, people should pay more attention to the production process of space. Only through the interpretation of the social significance of space can we see the game of power relations in the process of creation of space. As a form of space, the same is true of the exhibition space of works of art. The collection, evaluation and educational function of works of art are closely related to the space of art display. The activities of artists and the exhibitions of works of art also interact closely with the exhibition space of art. The distinction between art and art depends not only on its own value, but also on the space in which it is placed. The situation and identity of the same object will vary greatly when it is placed in different places. Based on the theory of Chinese and foreign space, this paper extends the study of space to the field of art, through the analysis of the space of Chinese art display to show the interweaving and game of various power relations. The first chapter mainly focuses on "space", first introduces the meaning of space and space theory, and then gets involved in the concept of display space. Since space is an important link in social relations, there must be power and capital. On the basis of the theory of power and capital, the second chapter focuses on the analysis of power and capital in the space of display, and discusses the principle and development of power distribution in the space of artistic display. The third and fourth chapters are the emphases of this paper, which mainly describe the distribution of power between Chinese traditional display space and contemporary display space. There was no real public display space in ancient China. The traditional display space was mainly influenced by the imperial power and showed the characteristic of "hiding", namely, the private space, which was isolated from the public. However, under the imperial power there is a force that can not be ignored, that is, the Chinese intellectuals, as literati class, occupied a lot of cultural capital, constructed another elegant collection space outside the temple, and created the unique artistic display way of hand scroll. Due to the development of China's democratic process and the prosperity of the market economy, the contemporary exhibition space has adjusted its own power strategy, whether it is the official display space or the sub-cultural display space. Publicity is its main characteristic and presents a more complicated power game.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：TU242.5

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