20世纪80年代中国美学思潮对现代主义艺术的影响
发布时间：2018-09-01 09:54
【摘要】： 80年代,西方现代主义的各种艺术形式及哲学思考通过各种渠道涌入中国,此时中国的思想政治意识这些无形的“形态”还禁锢着人们的思想和行为。由于美学和哲学的特殊关系以及美学在当时所处的特殊位置,具有人文精神的知识分子和艺术家们就往往借美学来表达自己的自由思考和批判意识。年青的艺术家们一方面吸收借鉴可利用的风格、语言来构筑自己的图式：印象派、表现主义、立体主义、超现实主义等各种现代绘画风格。从抽象主义到野兽派,达达主义到波普艺术,几乎所有的西方现代、后现代艺术和美学流派都可以在这里获得共鸣。另一方面艺术家们也用西方现代美学思想来丰富自己的理论：黑格尔的“时代精神”、尼采的绝对意志和柏格森的非理性直觉等强调直觉与生命力的书,也包括萨特、海德格尔的存在、亲在和弗洛伊德关于梦和潜意识的论著,罗杰·弗莱、克莱夫·贝尔以及格林伯格的形式主义美学和形式主义批评,甚至包括艰涩难懂的罗素和维特根斯坦的哲学著作。而同期在中国学术界流行的“文化热”、“美学热”也都可以在这些思潮中寻找到恰当的艺术、视觉回应。吴冠中的形式主义批判引起的关于艺术的内容和形式的大讨论；民间艺术团体的“星星美展”对“二元对立论”及“精英文化”的消解和颠覆；美学研究的泛化和新潮美术滥疡的对应。此时的美学思潮与中国前卫艺术相互影响、互动共生,这些哲学、美学思索和某种理念不仅在前卫艺术群体的宣言中表现出来,也积极地反映在作品中,以致有人将这种现象称之为“画家想当半个哲学家”。 本文共分四个部分,第一部分是选题理由,详细阐释了选题意义及国内外研究现状。第二部分是对西方美学理论的演进与艺术关系的探讨。第三部分简要分析了中国现代美学三次重要的美学思潮及原因。第四部分是本文的重点,阐述通过80年代中国现代主义艺术三次重要的事件,反映出80年代的美学思潮与中国现代主义艺术相互影响、互动共生。
[Abstract]:In the 1980s, various artistic forms and philosophical thinking of western modernism poured into China through various channels. At this time, the invisible "forms" of Chinese ideological and political consciousness still confined people's thoughts and behaviors. Because of the special relationship between aesthetics and philosophy and the special position of aesthetics at that time, intellectuals and artists with humanistic spirit often express their free thinking and critical consciousness through aesthetics. On the one hand, young artists draw on available styles and language to construct their own schemata: Impressionism, expressionism, cubism, surrealism and other modern painting styles. Almost all western modern, post-modern and aesthetic schools, from abstraction to beast, Dadaism to pop art, can be resonated here. On the other hand, artists also enrich their theories with modern western aesthetic thoughts: Hegel's "spirit of the times", Nietzsche's absolute will and Bergson's irrational intuition, which emphasize intuition and vitality, including Sartre. Heidegger's existence, his works with Freud on dreams and subconscious, Roger Fry, Clive Bell, and Greenberg's formalist aesthetics and formalistic criticism. Even the arcane philosophical works of Russell and Wittgenstein. Meanwhile, the "culture craze" and "esthetics craze" popular in Chinese academic circles can also find appropriate artistic and visual responses in these trends of thought. Wu Guanzhong's critique of formalism leads to a great discussion on the content and form of art, the deconstruction and subversion of "dual opposites" and "elite culture" by folk art groups "Star Art Exhibition"; The generalization of aesthetic research corresponds to the choice of modern art. At this time the aesthetic trend of thought and Chinese avant-garde art interact with each other. These philosophies, aesthetic thoughts and some ideas are not only reflected in the avant-garde art group's manifesto, but also positively reflected in the works. Some people call this phenomenon "the painter wants to be half a philosopher." This paper is divided into four parts, the first part is the reason for the topic, explained the significance of the topic and domestic and foreign research status. The second part discusses the evolution of western aesthetic theory and the relationship between art. The third part briefly analyzes the three important aesthetic trends and reasons of modern Chinese aesthetics. The fourth part is the focal point of this paper. Through the three important events of Chinese modernism art in 1980s, it reflects the interaction and symbiosis between the aesthetic trend of 80's and Chinese modernism art.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：I01
本文编号：2216838
[Abstract]:In the 1980s, various artistic forms and philosophical thinking of western modernism poured into China through various channels. At this time, the invisible "forms" of Chinese ideological and political consciousness still confined people's thoughts and behaviors. Because of the special relationship between aesthetics and philosophy and the special position of aesthetics at that time, intellectuals and artists with humanistic spirit often express their free thinking and critical consciousness through aesthetics. On the one hand, young artists draw on available styles and language to construct their own schemata: Impressionism, expressionism, cubism, surrealism and other modern painting styles. Almost all western modern, post-modern and aesthetic schools, from abstraction to beast, Dadaism to pop art, can be resonated here. On the other hand, artists also enrich their theories with modern western aesthetic thoughts: Hegel's "spirit of the times", Nietzsche's absolute will and Bergson's irrational intuition, which emphasize intuition and vitality, including Sartre. Heidegger's existence, his works with Freud on dreams and subconscious, Roger Fry, Clive Bell, and Greenberg's formalist aesthetics and formalistic criticism. Even the arcane philosophical works of Russell and Wittgenstein. Meanwhile, the "culture craze" and "esthetics craze" popular in Chinese academic circles can also find appropriate artistic and visual responses in these trends of thought. Wu Guanzhong's critique of formalism leads to a great discussion on the content and form of art, the deconstruction and subversion of "dual opposites" and "elite culture" by folk art groups "Star Art Exhibition"; The generalization of aesthetic research corresponds to the choice of modern art. At this time the aesthetic trend of thought and Chinese avant-garde art interact with each other. These philosophies, aesthetic thoughts and some ideas are not only reflected in the avant-garde art group's manifesto, but also positively reflected in the works. Some people call this phenomenon "the painter wants to be half a philosopher." This paper is divided into four parts, the first part is the reason for the topic, explained the significance of the topic and domestic and foreign research status. The second part discusses the evolution of western aesthetic theory and the relationship between art. The third part briefly analyzes the three important aesthetic trends and reasons of modern Chinese aesthetics. The fourth part is the focal point of this paper. Through the three important events of Chinese modernism art in 1980s, it reflects the interaction and symbiosis between the aesthetic trend of 80's and Chinese modernism art.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：I01
【引证文献】
相关硕士学位论文 前1条
1 肖丹;论星星美展的在场状态[D];中国艺术研究院;2013年
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