2000年以来中国观念水墨的创作形态与批评话语

发布时间：2018-05-16 11:32

本文选题：当代艺术 + 水墨艺术　；参考：《四川美术学院》2017年硕士论文

【摘要】：1980年代中期,观念水墨开始出现,作为一种新的艺术现象,当时仅仅只将其作为现代水墨的一种发展路径。1990年代,观念水墨有了质的飞跃,艺术家有的从媒介出发、有的从书写性出发、有的从形态出发,不同的路径、不同的方法,目的在于推动观念水墨向前发展。到了1990年代末期,观念水墨领域已发展成为蔚为壮观的局面,同时也成为中国当代艺术重要的组成部分。2000年以来,观念水墨不仅延续了1990年代的某些特征,比如对媒介、材料、书写性的重视,而且,更强调“观念”生效的语境,及其艺术史上下文关系。本文以《2000年以来中国观念水墨的创作形态与批评话语》为题,旨在探讨新世纪以来,中国观念水墨出现的新的变化,以及批评的建构。事实上,从1980年代的“新潮美术”开始,艺术批评就积极地介入社会,介入创作,就观念水墨领域,曾产生了重要的推动作用。一方面,艺术创作的发展与观念的更迭,消解了既有的创作范式,动摇了既定的创作思想,催生了新的艺术思潮,引发了新的学术问题。于是,批评需要做出反映,需要对其进行阐述,进行梳理。另一方面,批评并不仅仅是创作的附庸,只是一种阐述工具,相反,批评也是一种知识性生产,会形成新的批评话语,进而构建新的批评理论。因此,本文力图讨论,2000年以后,观念水墨领域出现了哪些批评声音,生成了哪些批评话语,并且,它们与之形成了怎样的互动,抑或是张力关系。本文首先对1980年代以来,观念水墨的发展做了线性的梳理,对其重要阶段的特点进行了阐述。本文的重点在于对2000年之后,观念水墨所呈现的新的形态特征进行了归纳,譬如:从笔墨形式走向观念水墨、从文字语言的解构走上观念之路,从传统水墨自身的修辞、审美习惯寻求突破口,从形态边界的拓展向观念水墨发展等等。借助于个案,希望深入的讨论观念水墨内部发生的变化。针对观念水墨带来的变化,就批评界而言,既有支持者,也有反对的声音。问题不在于观点上是肯定还是否定,对于笔者来说,更为关注的是,是否产生了新的批评话语。而这些话语又是基于什么样的理论,怎样的阐述体系与艺术史上下文展开的?它们对观念水墨的创作究竟产生了哪些影响?本文的最后一部分,是讨论观念水墨在未来的发展中还将面临哪些困难与挑战,在新的艺术史情景,以及依托于中国当代艺术的整体氛围,还有哪些新的可能性。
[Abstract]:In the mid-1980s, concept ink began to appear, as a new art phenomenon, at that time only as a way of development of modern ink. In the 1990s, the concept of ink has made a qualitative leap, some artists from the media. Some from the writing, some from the form, different paths, different methods, the purpose is to promote the concept of ink and ink forward development. By the end of the 1990s, the field of conceptual ink had developed into a spectacular situation, and it had also become an important part of contemporary Chinese art. Since 2000, conceptual ink has not only continued some of the characteristics of the 1990s, such as media, materials, The importance of writing, and more emphasis on the "concept" effective context, and the context of art history. This paper focuses on the creation form and critical discourse of Chinese conceptual ink since 2000, in order to explore the new changes of Chinese concept ink since the new century and the construction of criticism. As a matter of fact, art criticism has been actively involved in society and creation since 1980s, and has played an important role in the field of conceptual ink painting. On the one hand, the development of artistic creation and the change of ideas have dispelled the existing creative paradigm, shaken the established creative thought, spawned a new artistic trend of thought, and caused new academic problems. Therefore, criticism needs to make a response, need to elaborate, carding. On the other hand, criticism is not only an appendage of creation, but also a means of elaboration. On the contrary, criticism is also a kind of knowledge production, which will form a new critical discourse and then construct a new criticism theory. Therefore, this paper tries to discuss what criticism voice has appeared, what critical discourse has been generated in the field of conceptual ink painting since 2000, and what kind of interaction or tension relationship they have formed with it. In this paper, the development of the concept of ink since 1980's, the development of a linear combing, its important stage of the characteristics are described. The emphasis of this paper is to sum up the new morphological features of conceptual ink after 2000, such as: from the form of ink to the form of ink, from the deconstruction of words to the road of ideas, from the rhetoric of traditional ink. Aesthetic habits seek a breakthrough, from the expansion of the shape of the boundary to the concept of ink development and so on. With the help of individual cases, I hope to discuss the changes in the concept of ink. In view of the changes brought about by the concept of ink and ink, critics have both supporters and voices of opposition. The question is not whether the viewpoint is positive or negative, for the author, more concern is whether there is a new critical discourse. And what kind of theory are these words based on, how to expound the system and the context of art history? What influence did they have on the creation of conceptual ink? The last part of this paper is to discuss the difficulties and challenges that the concept ink will face in the future development, the scene of the new art history, the overall atmosphere of the Chinese contemporary art, and what new possibilities.
【学位授予单位】：四川美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

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