论当代语境下艺术创作中的“虚”及其价值
发布时间：2018-11-17 12:27
【摘要】：在当代艺术进程中,中西方艺术交融互进,其“虚”的内涵却不尽相同。随着艺术表现的内容和形式不断丰富,当代艺术呈现出包容性和多样性,本文中“虚”的艺术观契合了当今艺术多元化的趋势,带给观者更多的解读性和参与性,尤其扩展了艺术实践的自由度,使艺术创作者在创作时更关注于自身情感和观念的表达。本文从“虚”的角度出发,梳理“虚”的艺术观在当代艺术中的呈现方式,进而探究“虚“在当代艺术创作和艺术教育实践中的现实意义。 本文共分为五个部分,绪论部分对选题的目的及意义进行了阐述,同时对文章所涉及到的相关概念作了界定。第一章主要论述“虚”的相关背景,此“虚’引自中国老子“虚无”的美学思想,而仅非西方传统绘画中描摹自然的客观视觉上的模糊。第二章对“虚”存在的普遍性及必要性进行了梳理,分析了“虚”在中西方艺术中的地位和影响,以及“虚”提供给创作者极大的自由度使其成为我国当代艺术中的必要存在。第三章是本文的重点章节,借由当代艺术家及其作品对“虚”的内涵和表现形式进行阐述,“虚”的艺术观使当代绘画有了丰富的创作形式,加以不同的观念共同构成了当代绘画的多样化呈现。第四章为最后一部分,结合笔者创作心得,及我国当下大众审美与艺术教育现状,探讨分析“虚”在当代艺术创作及艺术教育中的价值所在。
[Abstract]:In the process of contemporary art, Chinese and western art intermingle with each other, but its "empty" connotation is different. With the rich content and form of art expression, contemporary art presents inclusiveness and diversity. The "empty" art view in this paper fits the trend of art diversification and brings more interpretation and participation to the viewer. In particular, it expands the freedom of artistic practice and makes the artistic creators pay more attention to the expression of their own feelings and ideas. From the angle of "empty", this paper combs the present way of "empty" in contemporary art, and then probes into the practical significance of "empty" in the practice of contemporary art creation and art education. This paper is divided into five parts, the introduction of the purpose and significance of the topic is described, and the related concepts involved in the article are defined. The first chapter mainly discusses the related background of "empty", which is drawn from the aesthetic thought of "nothingness" of Laozi in China, but not the objective visual ambiguity of describing nature in traditional western painting. The second chapter combs the universality and necessity of the existence of "empty", analyzes the position and influence of "empty" in Chinese and western art, and provides the author with great freedom to make it a necessary existence in contemporary art of our country. The third chapter is the key chapter of this paper, through the contemporary artists and their works to explain the connotation and the form of expression of "empty", the "empty" art view makes contemporary painting have rich forms of creation. Different ideas together constitute the diversification of contemporary painting. The fourth chapter is the last part, combined with the author's creative experience, and the current situation of aesthetic and art education in our country, discusses the value of "empty" in contemporary art creation and art education.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J204
[Abstract]:In the process of contemporary art, Chinese and western art intermingle with each other, but its "empty" connotation is different. With the rich content and form of art expression, contemporary art presents inclusiveness and diversity. The "empty" art view in this paper fits the trend of art diversification and brings more interpretation and participation to the viewer. In particular, it expands the freedom of artistic practice and makes the artistic creators pay more attention to the expression of their own feelings and ideas. From the angle of "empty", this paper combs the present way of "empty" in contemporary art, and then probes into the practical significance of "empty" in the practice of contemporary art creation and art education. This paper is divided into five parts, the introduction of the purpose and significance of the topic is described, and the related concepts involved in the article are defined. The first chapter mainly discusses the related background of "empty", which is drawn from the aesthetic thought of "nothingness" of Laozi in China, but not the objective visual ambiguity of describing nature in traditional western painting. The second chapter combs the universality and necessity of the existence of "empty", analyzes the position and influence of "empty" in Chinese and western art, and provides the author with great freedom to make it a necessary existence in contemporary art of our country. The third chapter is the key chapter of this paper, through the contemporary artists and their works to explain the connotation and the form of expression of "empty", the "empty" art view makes contemporary painting have rich forms of creation. Different ideas together constitute the diversification of contemporary painting. The fourth chapter is the last part, combined with the author's creative experience, and the current situation of aesthetic and art education in our country, discusses the value of "empty" in contemporary art creation and art education.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J204
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