中韩雕塑的现代转型与民族身份的文化确认
发布时间：2019-03-05 20:26
【摘要】：我认为确立民族身份及立足于本土传统是21世纪中韩两国雕塑发展的核心方向,这是本文的大前提。在全球化的今天,这种主张会让人觉得有些不合时宜。对此我们不妨回顾一下,目前全球化这一后现代语境中出现的词汇里,是否隐藏着“全盘西化”的计谋?对20世纪初的中国和韩国来言,以西为师是不可避免的必然选择,但进入21世纪,如果仍主张以西方为标准的话,不禁要问这是否才是开历史倒车?基于如上观点,笔者主张通过恢复与传统雕塑之间的继承关系,并立足于民族传统文化试图重构雕塑体系,探索21世纪中韩两国雕塑发展的新道路,并为两国雕塑发展提供多种可能性。论文的第一章中,本人展开对如上观点进行分析。我将传统主线的断裂视为阻碍中韩两国雕塑发展的局限,并将传统社会向近代社会转型的裂变和西方现代美术教育体系的引入,看作是如上薄弱环节的最根本性原因。在第二章,笔者对中韩现代雕塑的形成及其发展路径进行了梳理,并分析出中韩现代雕塑的特殊性。基于对中韩现代雕塑发展的把握,在第三章,将中韩雕塑历史分为几个阶段,探讨了两国现代雕塑发展中对民族身份及传统的探索,并浅谈时代背景与艺术潮流形成的关系。在最后章节里,提示中韩雕塑发展的新可能性,笔者主张通过传统雕塑的现代转化和改善教育制度等方式,提出了21世纪中韩两国雕塑发展中以确立民族身份及立足于本土传统为导向的具体方案。
[Abstract]:I think that the establishment of national identity and local tradition is the core direction of the development of sculpture in China and South Korea in the 21st century, which is the main premise of this paper. In today's globalized world, such claims may seem somewhat anachronistic. In this regard, we might recall whether globalization, a post-modern context of the vocabulary, is hidden in the "overall westernization" strategy? For China and South Korea in the early 20th century, taking the west as the teacher is an inevitable choice. But when we enter the 21st century, if we still advocate taking the west as the standard, we cannot help but ask whether this is the only way to reverse the course of history. Based on the above point of view, the author argues that through the restoration of the inherited relationship with traditional sculpture, and based on the national traditional culture, the author tries to reconstruct the sculpture system and explore a new road for the development of sculpture in China and South Korea in the 21st century. And provide a variety of possibilities for the development of sculpture in both countries. In the first chapter of the paper, I start to analyze the above point of view. I regard the break of the traditional thread as the limitation that hinders the development of sculpture in China and Korea, and regards the fission of the traditional society to the modern society and the introduction of the western modern art education system as the most fundamental reason for the weak link above. In the second chapter, the author combs the formation and development path of modern sculpture in China and Korea, and analyzes the particularity of modern sculpture in China and Korea. Based on the understanding of the development of modern sculpture in China and Korea, in the third chapter, the history of sculpture in China and South Korea is divided into several stages, and the exploration of national identity and tradition in the development of modern sculpture in both countries is discussed, and the relationship between the background of the times and the formation of artistic trend is also discussed. In the last chapter, the author points out the new possibility of the development of Chinese and Korean sculpture. The author advocates the modern transformation of traditional sculpture and the improvement of educational system, and so on. This paper puts forward a concrete plan to establish national identity and base on local tradition in the development of sculpture between China and South Korea in the 21 ~ (st) century.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J305
本文编号：2435257
[Abstract]:I think that the establishment of national identity and local tradition is the core direction of the development of sculpture in China and South Korea in the 21st century, which is the main premise of this paper. In today's globalized world, such claims may seem somewhat anachronistic. In this regard, we might recall whether globalization, a post-modern context of the vocabulary, is hidden in the "overall westernization" strategy? For China and South Korea in the early 20th century, taking the west as the teacher is an inevitable choice. But when we enter the 21st century, if we still advocate taking the west as the standard, we cannot help but ask whether this is the only way to reverse the course of history. Based on the above point of view, the author argues that through the restoration of the inherited relationship with traditional sculpture, and based on the national traditional culture, the author tries to reconstruct the sculpture system and explore a new road for the development of sculpture in China and South Korea in the 21st century. And provide a variety of possibilities for the development of sculpture in both countries. In the first chapter of the paper, I start to analyze the above point of view. I regard the break of the traditional thread as the limitation that hinders the development of sculpture in China and Korea, and regards the fission of the traditional society to the modern society and the introduction of the western modern art education system as the most fundamental reason for the weak link above. In the second chapter, the author combs the formation and development path of modern sculpture in China and Korea, and analyzes the particularity of modern sculpture in China and Korea. Based on the understanding of the development of modern sculpture in China and Korea, in the third chapter, the history of sculpture in China and South Korea is divided into several stages, and the exploration of national identity and tradition in the development of modern sculpture in both countries is discussed, and the relationship between the background of the times and the formation of artistic trend is also discussed. In the last chapter, the author points out the new possibility of the development of Chinese and Korean sculpture. The author advocates the modern transformation of traditional sculpture and the improvement of educational system, and so on. This paper puts forward a concrete plan to establish national identity and base on local tradition in the development of sculpture between China and South Korea in the 21 ~ (st) century.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J305
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