中国公立美术馆之“当代性”研究

发布时间：2018-09-18 14:54

【摘要】： 本论文的写作动机来自于对“美术馆学”这一学科的思考,总体看,国内学术界对此已有不少研究,有了不少成果,但问题在于个案研究多而综合研究少,零散研究多而系统研究少,其中还存在着许多空白和薄弱环节,特别是关于中国公立美术馆有自己的“当代性”问题,这涉及到对中国公立美术馆的定性与判断。目前的现状是人们多以西方的视角和观点来看待中国的美术馆,认为“当代性”即前卫性,而这种前卫性在艺术中即前卫艺术或当代艺术。问题在于中国的公立美术馆有自己的发展轨迹和特征,无法完全以此类西方观念来解释,这就引出本论文的观点。本论文所讨论的“中国公立美术馆之当代性”由一个完整而清晰的历史过程构成。中国公立美术馆自诞生以来,第一代美术馆人就提出美术馆的当代性问题。这个当代性问题包括三个维度:1、从展览主体上追求艺术审美的世界性与民族性;2、创设民主化的社会机构;3、由这两个维度延伸出的公共教育:以美育普及提高大众审美,从而培养现代国民。三个维度构成当时中国公立美术馆的当代性问题,这是一种精英主义意识形态下的当代性意识,但是随着社会形态的变迁,当精英主义意识形态转变为大众意识形态后,中国公立美术馆当代性的内容也发生了变化。第一维度:当大众意识形态把强大的国家意志力贯穿到公立美术馆,使其形成对内和对外两种形式和功能。同时大众意识形态将公立美术馆纳入到统一的文化体制内,于是便体现大众意识形态对公立美术馆的民族性与世界性追求的初步理解与实践。改革开放后,大众意识形态在新的历史语境中对公立美术馆的民族性与世界性产生了新的理解,它在国家意志力的支持下主动参与到国际艺术文化的角逐中,使得这个时期的公立美术馆被纳入到国家文化策略当中;第二维度:大众意识形态对当代美术创作主体、美术馆叙述方式、对当代美术观念的批评介入,进而得出中国公立美术馆在追求当代美术的民族化和世界化过程中,虽然历经曲折但最终让我们在本土公立美术馆中看到更多元化的当代美术作品和美术陈列方式;第三维度:大众意识形态下的美术馆诠释对象由“普罗大众”到“人民群众”,再到改革开放后的“社会公众”,教育对象称谓的改变说明公立美术馆在探索公共教育民族化之路上的历史演变。在这里,我们还将讨论大众意识形态下的公立美术馆教育方式和教育理念是否真正体现公立美术馆追求民族化与世界化的价值。这个问题的重要性恰恰对于今后公立美术馆在探索本土化进程中,具有重要的理论指导意义和实际借鉴意义。在文中的最后部分笔者还将探讨大众意识形态下的公立美术馆当代性的第四维度——当代性与地域文化的关系。该内容涉及关于如何建设中国公立美术馆全局的问题,在大众意识形态下中国公立美术馆全局已经建立起南北中的格局,其中南以广东美术馆为代表,北以中国美术馆为代表,中则以上海美术馆为代表。三大馆结合各自的地域文化特性,使中国公立美术馆的当代性呈现更趋民族化的面貌,结合本土文化史和美术史进行藏品研究和学术梳理。其中,广东美术馆着力于对华侨美术史和广东美术史的研究、中国美术馆致力于对中国具有重大美术史价值的艺术家及其作品的研究、展示与收藏、上海美术馆则把重点放在海派美术史与国际化的艺术家及其作品的收藏、展示与研究上。三馆的地域定位无疑深化了展览主体的民族性探求,通过各自的展示和文献出版,把具有当代意义的民族性提升为更具普适性的世界意义。同时,三馆把中国公立美术馆的优质资源进行整合,使得资源不被浪费。本论文的结论是,中国公立美术馆的当代性——无论是精英主义意识形态下的当代性还是大众主义意识形态下的当代性,不仅构成了中国美术馆学重要的一部分,而且证明了中国美术馆学的独特性——建筑在国家意志、当代美术、公共教育和地域性基础上的民族性和世界性建构。其实践将成为中国美术馆学理论建构的来源和支撑。
[Abstract]:The motive of writing this thesis comes from thinking about the subject of "Art Museum Studies". Generally speaking, there have been a lot of studies and achievements in this field in domestic academic circles, but the problems lie in more case studies and less comprehensive studies, more scattered studies and less systematic studies. There are still many gaps and weak links in this paper, especially about Chinese public officials. Li Museum of Fine Arts has its own "contemporary" problem, which involves the qualitative and judgment of China's public art galleries. The current situation is that people look at China's art galleries from a Western perspective and point of view, that "contemporary" is avant-garde, and this avant-garde in art is avant-garde art or contemporary art. The problem lies in China. Public art galleries have their own development track and characteristics, which can not be fully explained by such Western concepts, which leads to the view of this paper.
The contemporary nature of China's public art galleries discussed in this paper consists of a complete and clear historical process. Since the birth of China's public art galleries, the first generation of gallery people have raised the contemporary issue of art galleries. This contemporary issue includes three dimensions: 1. pursuing the cosmopolitan nature and the people of art aesthetics from the exhibition subject. Nationality; 2, the creation of democratic social institutions; 3, the extension of public education from these two dimensions: aesthetic education popularization to improve the public aesthetic, so as to cultivate modern citizens. The first dimension: when the mass ideology penetrates the strong national will power into the public art galleries, it forms two forms and functions, internal and external. At the same time, the mass ideology will accept the public art galleries. After the reform and opening to the outside world, the mass ideology has a new understanding of the nationalism and cosmopolitanism of the public art galleries in the new historical context. It has taken the initiative under the support of the national will power. Participating in the competition of international art and culture makes the public art galleries in this period be included in the national cultural strategy; the second dimension: mass ideology to contemporary art creation subject, Art Gallery narrative mode, criticism of contemporary art concepts involved, and then draw the conclusion that China's public art galleries in the pursuit of contemporary art nationalization In the process of internationalization, although it has gone through many twists and turns, we will eventually see more diversified contemporary art works and art exhibitions in the local public art galleries; the third dimension: the object of interpretation of art galleries under the mass ideology is from "the general public" to "the masses of the people", and then to "the public" after the reform and opening up, and education to the public. The change of appellation indicates the historical evolution of public art galleries in exploring the road of nationalization of public education. Here, we will also discuss whether public art galleries'educational methods and concepts under the popular ideology truly embody the value of nationalization and internationalization of public art galleries. In the last part of this paper, the author will also discuss the relationship between the fourth dimension of the contemporaneity of public art galleries under the mass ideology - the relationship between the contemporaneity and regional culture. The overall situation of China's public art galleries has been set up under the mass ideology. The Guangdong Museum of Art is the representative in the south, the China Museum of Art in the north and Shanghai Museum of Art in the middle. Nationalized features, combined with local cultural history and art history for collection research and academic combing. Among them, the Guangdong Museum of Fine Arts focuses on the history of overseas Chinese art and the history of Guangdong art, the Chinese Museum of Fine Arts is committed to the study, exhibition and collection of artists and their works of great value to China's art history, while the Shanghai Museum of Fine Arts is focused on them. The localization of the three museums has undoubtedly deepened the exploration of the national character of the exhibitors. Through their respective exhibitions and literature publications, they have promoted the national character of contemporary significance to a more universal world significance. At the same time, the three museums have promoted China's public beauty. The quality resources of the museum are integrated so that resources can not be wasted.
The conclusion of this paper is that the modernity of Chinese public art galleries, whether under elitist ideology or under popular ideology, not only constitutes an important part of Chinese Art Gallery science, but also proves the uniqueness of Chinese Art Gallery Science - Architecture in the will of the state, contemporary art, public Its practice will become the source and support of the theoretical construction of Chinese art gallery.
【学位授予单位】：中国美术学院
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J209.2

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