中国当代“艳俗艺术”研究
发布时间：2018-08-13 17:44
【摘要】： 中国当代“艳俗艺术”从上世纪九十年代中期开始，其发展跨越了世纪之交，并一直持续到当下，成为中国现当代艺术中的一个重要典型现象。它与中国传统俗文化有着同一的历史渊源，但是“艳俗”作为当下语境的一个特定词汇，它直接反映了上世纪九十年代以来中国文化倾向的典型特征——随着市场经济的发展，文化消费在商业化的操纵下，呈现出即时性、功利性、浮华性的特征。 艳俗艺术揭示了当代大众在现代拜物主义心理驱动下，亦步亦趋模仿流行时尚时，所流露出的浮华艳丽，世俗虚荣的大众审美情趣。它是以艳俗的形式来批判形式上的过分艳俗，它将现实中的“艳俗”对象罗列出来，同时加以更艳俗化的包装，让对象的浮华艳丽、俗不可耐直接暴露。“反讽”是它批判现实的主要特点。 艳俗艺术虽举艳俗之旗，但其主旨与我们在生活中消费的大众文化明显不同，它不是简单生产艳俗艺术品；而是在模仿艳俗世象，“模仿”是它的主要表现形式。 艳俗艺术作为现代艺术中的一个重要流派，它对中国当下的社会现实的展示与批判，是最直接，也是最显而易见的。它的影响涉及到文化艺术的各个领域，并将作为中国现当代艺术的重要一章，被中国艺术史所记载。 本篇论文分为五个部分：第一部分，主要从艳俗的释义入手，研究艳俗艺术的历史文化渊源和当代语境表达。第二部分，深入研究艳俗艺术思潮产生的时代、文化、心理等多个层面的现实背景。第三部分，本论文的重点，分析艳俗艺术的主要表现方式，结合阶段性特点，从不同艺术领域的艺术家个案入手，，深入探究艺术家在艳俗艺术思潮中，不同的艺术观念和艺术表达方式。第四部分，多角度呈现艳俗艺术思潮的社会影响和文化争鸣。第五部分，结束语，综述艳俗艺术思潮的现实文化价值和发展前景。
[Abstract]:Since the middle of 1990s, the development of Chinese contemporary "gaudy art" has spanned the turn of the century and continued to the present. It has become an important and typical phenomenon in Chinese modern and contemporary art. It has the same historical origin with Chinese traditional vulgar culture, but as a specific word in the present context, it directly reflects the typical characteristics of Chinese cultural tendency since the 1990s-with the development of market economy. Under the control of commercialization, cultural consumption presents the characteristics of immediacy, utilitarianism and splendor. The gaudy art reveals the flamboyant and worldly vanity of the popular aesthetic interest when the contemporary masses are driven by modern worshippers and follow the trend of imitation of popular fashion. It criticizes the excessive gaudiness in the form of gaudy. It lists out the objects of "gaudy customs" in reality, and at the same time puts them into more gaudy packaging, which makes the objects flashy and showy, and vulgar can not be exposed directly. Irony is the main feature of its critique of reality. Although gaudy art holds the banner of gaudy vulgarity, its purport is obviously different from the popular culture that we consume in our life. It is not a simple production of gaudy art, but a imitation of the gaudy world image, whose main manifestation is "imitation". As an important school of modern art, showcasing and criticizing the present social reality in China is the most direct and obvious. Its influence involves various fields of culture and art and will be recorded in the history of Chinese art as an important chapter of modern and contemporary Chinese art. This paper is divided into five parts: the first part, mainly from the interpretation of gaudy art, the historical and cultural origin and contemporary context of expression. The second part deeply studies the realistic background of the era, culture, psychology and so on. The third part, the focus of this paper, analyzes the main ways of expression of gaudy art, combining with the characteristics of stages, starting with the cases of artists in different fields of art, deeply exploring the artists in the trend of thought of gaudy art. Different artistic concepts and artistic expressions. The fourth part presents the social influence and cultural contending of the trend of thought of gaudy art from various angles. The fifth part, concluding remarks, summarizes the practical cultural value and development prospects of the trend of thought of gaudy art.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：J120.9
本文编号：2181722
[Abstract]:Since the middle of 1990s, the development of Chinese contemporary "gaudy art" has spanned the turn of the century and continued to the present. It has become an important and typical phenomenon in Chinese modern and contemporary art. It has the same historical origin with Chinese traditional vulgar culture, but as a specific word in the present context, it directly reflects the typical characteristics of Chinese cultural tendency since the 1990s-with the development of market economy. Under the control of commercialization, cultural consumption presents the characteristics of immediacy, utilitarianism and splendor. The gaudy art reveals the flamboyant and worldly vanity of the popular aesthetic interest when the contemporary masses are driven by modern worshippers and follow the trend of imitation of popular fashion. It criticizes the excessive gaudiness in the form of gaudy. It lists out the objects of "gaudy customs" in reality, and at the same time puts them into more gaudy packaging, which makes the objects flashy and showy, and vulgar can not be exposed directly. Irony is the main feature of its critique of reality. Although gaudy art holds the banner of gaudy vulgarity, its purport is obviously different from the popular culture that we consume in our life. It is not a simple production of gaudy art, but a imitation of the gaudy world image, whose main manifestation is "imitation". As an important school of modern art, showcasing and criticizing the present social reality in China is the most direct and obvious. Its influence involves various fields of culture and art and will be recorded in the history of Chinese art as an important chapter of modern and contemporary Chinese art. This paper is divided into five parts: the first part, mainly from the interpretation of gaudy art, the historical and cultural origin and contemporary context of expression. The second part deeply studies the realistic background of the era, culture, psychology and so on. The third part, the focus of this paper, analyzes the main ways of expression of gaudy art, combining with the characteristics of stages, starting with the cases of artists in different fields of art, deeply exploring the artists in the trend of thought of gaudy art. Different artistic concepts and artistic expressions. The fourth part presents the social influence and cultural contending of the trend of thought of gaudy art from various angles. The fifth part, concluding remarks, summarizes the practical cultural value and development prospects of the trend of thought of gaudy art.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：J120.9
【引证文献】
相关期刊论文 前1条
1 杨盛楠;;大众消费语境下的“艳俗艺术”指向性研究[J];美术教育研究;2012年11期
相关硕士学位论文 前3条
1 杨洪毅;“观念”介入，二十世纪九十年代中国艳俗艺术的社会指向性研究[D];华东师范大学;2011年
2 钱蒙;文革美术与当代表现文革题材美术的比较研究[D];苏州大学;2011年
3 陶晓维;艳而不俗的艳俗艺术[D];贵州大学;2009年
本文编号：2181722
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