对中国当代雕塑中“符号化”现象的思辨
发布时间：2019-05-24 01:23
【摘要】：在当代艺术已经颇为泛滥的今天,社会文化无论发展到怎样的一个高度,制度与习惯、价值与审美始终都不会脱轨。而在中国,一些前现代社会急待解决的封建与半封建的社会实状,如民主平权、言论自由、机会均等与程序公正等均无所落实,然后却掀起大跃进一般的当代艺术革命。其结果必然是靠不住的,例如一些中国艺术家面对后工业文明的当代矛盾,试图运用中国传统的“天人合一”“五行八卦”等理念来解决。而这种解决方法必定是脱节、片面的,其目的无非是想体现中华传统文化优越于西方现代文化,笔者认为这是虚荣心作祟的结果。 笔者必须强调的是:中国的当代艺术包括当代雕塑有别于西方现代主义、后现代艺术,因为中国缺乏现代文明的实践基础,他只拥有现代化工具而不具有现代文明的意识理念。所以,中国当代艺术思想与艺术变相为一种保守复古主义。西方现代文明所面临的矛盾,几乎成了中国民族主义炫耀中国优越性的资本。以“黄老孔孟”和“天人合一”的思想不可能完全解决当代社会及艺术的实质问题。 而中国当代艺术包括当代雕塑所表现出的急躁冒进,催生了对现代文明不切实际的虚幻要求——对西方的过度迷信,西方现代主义或后现代主义成为一种解决中国社会问题的强心剂,它呈现出一种表面化的空洞仪式,并不能构成社会精神思想的实质。那些貌似前卫的思想家与艺术家,而他们的真正主导思想还是传统的“黄老孔孟”、“天人合一”。思想主张与实践行为的矛盾,往往使一切思想与艺术走向彻底空洞化。 文章首先通过对中国当代雕塑的发展,存在的问题,特征等梳理,对中国当代雕塑做了一个较为全面的介绍。然后通过历史上东西文化、雕塑的交流传播,到近现代西方文化艺术对东方文化艺术的刺激、入侵,阐述现当代文化艺术交流的不平等性。而正是这种不平等性。造成了中国当代艺术家、雕塑家心里上的失衡。自卑感、民族主义、民族虚荣心等心态油然而生。而心态的失衡倒置了雕塑作品空洞、乏味、缺乏真情实感。雕塑作为艺术的一种形式,而艺术作为一种社会意识形态,必须与其社会、经济、政治格局等方面发展相一致。在西方,当代艺术的繁荣是与当代社会的需要完全一致的。而中国的现状,在表面上看似乎已经进入了当代,其实仍然停留在“前当代”的水平上。在硬件和形式上,中国进入当代的速度是飞快的,而不是本质的内在的需要,换句话说,中国的当代艺术形象是靠外力推动并塑造而成的。 所以说,中国当代雕塑表面的红火现象应该值得我们冷静的反思。长久、健康、良性循环的当代雕塑作品是我们所期待的,而要想中国当代雕塑长期健康的发展,或者说如何使中国当代雕塑真实的表现当下丰富的社会从而真正的进入公众,便成为当下急需解决的问题。否则,中国的当代雕塑甚至是当代艺术不可能真正的实现其社会性目的。因此,笔者认为中国的当代雕塑家更为重要的是应把自己视为公众的一员,而不是高高在上的,要用平等的视角去深切关注公共共同的生存经验,然后从中提炼出相关的艺术观念与表达方式。
[Abstract]:In today's contemporary art, the social culture, regardless of the height, the system and the custom, the value and the aesthetic, has never been derailed. In China, the feudal and semi-feudal social reality, such as democracy, freedom of expression, equal opportunity and procedural justice, which is urgently to be solved by some former modern society, has not been implemented, and then a great leap forward to the general contemporary art revolution. The result is inevitable, for example, some Chinese artists face the contemporary contradiction of the post-industrial civilization, and try to solve the traditional Chinese "unity of man and man" of "five elements of the five elements" and so on. The solution must be disjointed and one-sided. The purpose of this paper is to show that the traditional Chinese culture is superior to the western modern culture, and the author thinks that this is the result of the vanity. The author must stress that contemporary Chinese contemporary art includes contemporary sculpture, which is different from the western modernism and post-modern art. On the basis of China's lack of the practical foundation of modern civilization, he only has a modern tool and does not have the consciousness of modern civilization. Therefore, the Chinese contemporary art thought and art are a kind of conservative antiquity. The spears of the western modern civilization The shield is almost the capital of Chinese nationalism to show off the superiority of China. The "the Old Man and the Mencius" and "unity of man and man" 's ideas can't completely solve the essence of contemporary society and art The Chinese contemporary art includes the urgency of the contemporary sculpture. The impulsiveness of the impracticality of the modern civilization has led to the impracticality of the modern civilization. The excessive superstition in the west, the western modernism or the post-modernism become a powerful agent for solving the social problems in China, and it presents a surface-based void. The ceremony of the hole can not form the essence of the thought of the social spirit. Those who seem to be avant-garde thinkers and artists, and their real dominant ideas or the traditional "the Old Man and the Mencius", the "unity of man and man", the ideas and the practice behavior. The contradiction between the thought and the art is often made to be thorough The article first makes a more comprehensive introduction to the contemporary Chinese sculpture by combing the development of contemporary Chinese sculpture, the existing problems and features, and then through the history, culture and sculpture. The communication between the Chinese contemporary artists and the sculptors has been caused by the inequity of the contemporary Chinese artists and the sculptors. The imbalance of the state of mind is the form of art, and art as a kind of social ideology, and it must be the form of art, and the art is a kind of social ideology. In the west, the prosperity of contemporary art is completely consistent with the needs of the contemporary society, and the current situation of China, which seems to have entered the present time on the surface, still remains at the level of the "the former contemporary". In the form of pieces and forms, the speed of China's entry into the modern world is fast, not the intrinsic need of nature, in other words, the Chinese contemporary art image is driven by an external force and As a result, the phenomenon of the red fire on the surface of contemporary Chinese sculpture should be worth our coolness. The contemporary sculpture of long-term, healthy and virtuous circle is what we are looking forward to, and want to think of the long-term healthy development of contemporary Chinese sculpture, or how to make the contemporary sculpture of China truly represent the current society, so that the real entry of the public has become an urgent need for the present Otherwise, contemporary Chinese sculpture is even impossible for contemporary art to achieve its social purpose. Therefore, the author thinks that the contemporary sculptor in China is more important to consider itself as a member of the public. It's not high. It's going to be an equal point of view to pay close attention to the common life experience, and then to extract the relevant art from it.
【学位授予单位】：广西艺术学院
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J305
本文编号：2484424
[Abstract]:In today's contemporary art, the social culture, regardless of the height, the system and the custom, the value and the aesthetic, has never been derailed. In China, the feudal and semi-feudal social reality, such as democracy, freedom of expression, equal opportunity and procedural justice, which is urgently to be solved by some former modern society, has not been implemented, and then a great leap forward to the general contemporary art revolution. The result is inevitable, for example, some Chinese artists face the contemporary contradiction of the post-industrial civilization, and try to solve the traditional Chinese "unity of man and man" of "five elements of the five elements" and so on. The solution must be disjointed and one-sided. The purpose of this paper is to show that the traditional Chinese culture is superior to the western modern culture, and the author thinks that this is the result of the vanity. The author must stress that contemporary Chinese contemporary art includes contemporary sculpture, which is different from the western modernism and post-modern art. On the basis of China's lack of the practical foundation of modern civilization, he only has a modern tool and does not have the consciousness of modern civilization. Therefore, the Chinese contemporary art thought and art are a kind of conservative antiquity. The spears of the western modern civilization The shield is almost the capital of Chinese nationalism to show off the superiority of China. The "the Old Man and the Mencius" and "unity of man and man" 's ideas can't completely solve the essence of contemporary society and art The Chinese contemporary art includes the urgency of the contemporary sculpture. The impulsiveness of the impracticality of the modern civilization has led to the impracticality of the modern civilization. The excessive superstition in the west, the western modernism or the post-modernism become a powerful agent for solving the social problems in China, and it presents a surface-based void. The ceremony of the hole can not form the essence of the thought of the social spirit. Those who seem to be avant-garde thinkers and artists, and their real dominant ideas or the traditional "the Old Man and the Mencius", the "unity of man and man", the ideas and the practice behavior. The contradiction between the thought and the art is often made to be thorough The article first makes a more comprehensive introduction to the contemporary Chinese sculpture by combing the development of contemporary Chinese sculpture, the existing problems and features, and then through the history, culture and sculpture. The communication between the Chinese contemporary artists and the sculptors has been caused by the inequity of the contemporary Chinese artists and the sculptors. The imbalance of the state of mind is the form of art, and art as a kind of social ideology, and it must be the form of art, and the art is a kind of social ideology. In the west, the prosperity of contemporary art is completely consistent with the needs of the contemporary society, and the current situation of China, which seems to have entered the present time on the surface, still remains at the level of the "the former contemporary". In the form of pieces and forms, the speed of China's entry into the modern world is fast, not the intrinsic need of nature, in other words, the Chinese contemporary art image is driven by an external force and As a result, the phenomenon of the red fire on the surface of contemporary Chinese sculpture should be worth our coolness. The contemporary sculpture of long-term, healthy and virtuous circle is what we are looking forward to, and want to think of the long-term healthy development of contemporary Chinese sculpture, or how to make the contemporary sculpture of China truly represent the current society, so that the real entry of the public has become an urgent need for the present Otherwise, contemporary Chinese sculpture is even impossible for contemporary art to achieve its social purpose. Therefore, the author thinks that the contemporary sculptor in China is more important to consider itself as a member of the public. It's not high. It's going to be an equal point of view to pay close attention to the common life experience, and then to extract the relevant art from it.
【学位授予单位】：广西艺术学院
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J305
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