王广义大批判作品中图标的发展与应用

发布时间：2018-12-16 20:45

【摘要】：波普艺术在60年代初期兴起于西方,是工业化社会的一种伴生形态,是先进工业技术的氛围中自然形成的视觉语言范式。中国的波普艺术有着自己特殊的社会背景和观念追求,不像西方波普是作为跟工业文明水平所相应而自然生成的,而是受新思潮影响而产生。当波普艺术作为一种美术现象在中国出现时,对相关的文化问题进行深刻反思,政治性问题便显得更加突出,中国化的波普艺术本身十分倚重题材,一开始是政治题材,后来又有商业的、娱乐的、历史的、消遣的、文化的等题材,王广义更自觉的关注和挖掘社会转型中具有荒诞和嘲讽意义的素材元素。大批判作品中,反复运用同一的红光亮、阳刚正大的工农兵形象和不断变化着的西方文明符号并置,取得一种中西文明对话的效果,但是作为波普作品,他只是提出一个问题,观众因着自身的文化背景和阅历广度的不同,会产生出不同的见仁见智的解读,符号化语言的相互组构,形成了他的个性化特点,显示了他对过往历史的深度思考。如果把大批判符号语言看成绘画本体语言系统的一部分,那么就一定会有一个合乎逻辑的发展前瞻,如果再与中国的传统美学相观照,则红星作为王广义图标的与时俱进和继续向前发展的一个结果之一,也就合乎逻辑和顺理成章。
[Abstract]:Pop art rose in the early 1960s in the West, is an accompanying form of industrialized society, is the atmosphere of advanced industrial technology in the natural formation of visual language paradigm. China's pop art has its own special social background and concept pursuit. Unlike the western pop, it is produced naturally in accordance with the level of industrial civilization, but under the influence of new trends of thought. When pop art appears as an art phenomenon in China, it makes a profound reflection on the related cultural issues, and the political issues become more prominent. The Chinese pop art itself relies heavily on the subject matter, beginning with the political subject matter. Later, there were commercial, entertainment, historical, recreational, cultural and other subjects. Wang Guangyi paid more attention to and explored the absurd and ironic elements in the social transformation. In his works of great criticism, he repeatedly uses the same red light, the masculine image of the workers, peasants and soldiers and the ever-changing symbol of Western civilization, to achieve the effect of a dialogue between Chinese and Western civilizations. But as a pop work, he only raises a question. Because of their own cultural background and different experience, the audience will produce different interpretations of different opinions, symbolic language of mutual fabric, forming his personalized characteristics, showing his deep thinking of the past history. If the grand critical symbolic language is regarded as part of the Noumenon language system of painting, then there will certainly be a logical prospect for development. If we look at it again with the traditional Chinese aesthetics, Red Star as Wang Guangyi icon with the times and continue to develop one of the results, it is logical and logical.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J205;J51

【共引文献】