非-文化与非-艺术:原住民绘画原真性论争
发布时间：2018-11-29 13:27
【摘要】：在非西方社会原住民仪式过程中,原本用于地面、身体、盾牌、容器及飞镖器物的表面装饰,在今日发生了被挪用到架上画布之上的现象。此类从仪式中挪用到画布上绘画,是文化亦或"非-文化"?是艺术还是"非-艺术"?引发了学界关于画布上原住民绘画身份问题的论争。在西方艺术制度中,对于绘画的身份讨论曾经采用文艺复兴工作室制度及现当代艺术声明制度,但是这些判断标准和艺术制度均不适用于解释今日原住民绘画现象。在对1996年至1999年之间发生系列原住民绘画事件的讨论中,可发现西方世界与原住民世界对于原住民绘画原真性的不同判断标准。在新的社会现实之下,我们可选择将原住民绘画"标识性"及原住民身份作为双重标准,作为一种可行的原住民绘画原真性价值判断。
[Abstract]:In the process of non-Western aboriginal ritual, the surface decoration of the ground, body, shield, container and darts happened today, which was misappropriated to the canvas on the shelf. Is this kind of painting diverted from ritual to canvas, cultural or "non-cultural"? Is it art or "non-art"? It triggered a debate about the identity of aboriginal painting on canvas. In the western art system, the identity discussion of painting used the Renaissance studio system and the contemporary art statement system, but these criteria and artistic systems could not be used to explain the phenomenon of aboriginal painting today. In the discussion of a series of aboriginal painting events between 1996 and 1999, it can be found that the western world and the aboriginal world have different criteria for judging the originality of aboriginal paintings. Under the new social reality, we can choose "identity" and aboriginal identity as double standards to judge the authenticity of aboriginal paintings.
【作者单位】： 浙江财经大学艺术学院;
【基金】：国家社科基金2016年度艺术学项目“当代欧美艺术人类学思想取向研究”(16BA010)阶段性成果
【分类号】：J202
本文编号：2365118
[Abstract]:In the process of non-Western aboriginal ritual, the surface decoration of the ground, body, shield, container and darts happened today, which was misappropriated to the canvas on the shelf. Is this kind of painting diverted from ritual to canvas, cultural or "non-cultural"? Is it art or "non-art"? It triggered a debate about the identity of aboriginal painting on canvas. In the western art system, the identity discussion of painting used the Renaissance studio system and the contemporary art statement system, but these criteria and artistic systems could not be used to explain the phenomenon of aboriginal painting today. In the discussion of a series of aboriginal painting events between 1996 and 1999, it can be found that the western world and the aboriginal world have different criteria for judging the originality of aboriginal paintings. Under the new social reality, we can choose "identity" and aboriginal identity as double standards to judge the authenticity of aboriginal paintings.
【作者单位】： 浙江财经大学艺术学院;
【基金】：国家社科基金2016年度艺术学项目“当代欧美艺术人类学思想取向研究”(16BA010)阶段性成果
【分类号】：J202
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