论中国当代艺术中的技术美学
发布时间：2019-04-27 15:41
【摘要】：艺术的观看不再是单单依赖观念与图示所提供的信息,而是可以从多个维度出发,多元的观看。立体派摆脱了对笔迹模仿物像的审美,开启了智性观看的先河。现如今,观众也可以从技术美学的美学角度,来解放针对作品观念风格的惯性观看模式。美学界谈论美学时,技术美学很少被谈论,常处于缺席状态。“人人都是艺术家”的观点是被德国观念艺术家约瑟夫·博伊斯(Joseph Beuys)提出的,认为每个人都可以参与到艺术中来,艺术不是艺术家的专利,艺术创作是所有人都可以享有的。在观念上消除了艺术与生活的界限,消解了技术在艺术创作中的重要性,甚至要将技术排斥在艺术生产之外。其实,新的艺术生产技术的有效运用,有利于改造旧的艺术生产方式与感知方式。而运用技术过程中带来的审美价值被认为是技术美,它是美的深层的东西。并且就美学而言,如果只谈论艺术在人的道德、行为所表现的美,就会显得过于肤浅。技术愈纯熟,就愈能解决目的性与规律性的对峙,有目的的运用技术的合乎规律性的特征,就有益于达到自由的形式,达到美的境界。本文主要围绕着“技术美学”,通过对技术,工匠精神,术以载道进行分析,逐步探讨中国当代艺术中的“技巧”的重要性与技术美学,旨在为艺术作品品藻的尺度和智性观看提供一个可能的入口。本文共分为六个章节:第一个章节阐释技术美学的概念,同时表述其在当代艺术中的技术美学及创作实践研究论题的目的和意义。第二个章节分析技术与艺术的关系,在艺术的生产关系中分析技术,工匠精神,术以载道,阐明技术的作用。技术是人们解决问题的方法,技术愈纯熟,就愈能解决目的性与规律性的对峙,有目的的运用技术的合乎规律性的特征,就可达到自由的形式,达到美的境界。第三个章节谈论美学的基本定义与技术美学的概念。技术美学是存在且有审美价值的,了解技术美学,有利于在艺术形式多样复杂的当代艺术的观看中,寻得一个可以品藻的尺度和智性观看的一个入口。第四个章节结合中国当代的发生与近十年间,画廊、美术馆、艺术品拍卖营造出的中国当代艺术繁荣现状分析中国当代艺术中的技术美学。第五个章节结合个人作品分析技术美学在作品中的存在以及对个人作品创作的影响。第六个章节总结技术美学在当代艺术中所表现出的意义与局限。
[Abstract]:The view of art no longer relies solely on the information provided by ideas and diagrams, but can be viewed from multiple dimensions. Cubism got rid of the aesthetic of imitating objects in handwriting and opened the way for intellectual viewing. Nowadays, the audience can also liberate the habitual viewing mode according to the concept and style of the works from the aesthetic point of view of the technical aesthetics. When aesthetic circles talk about aesthetics, technical aesthetics is seldom talked about and often absent. The idea that everyone is an artist is put forward by the German conceptual artist Joseph Boyce (Joseph Beuys), who believes that everyone can participate in art and that art is not the artist's patent. Artistic creation is something everyone can enjoy. It eliminates the boundary between art and life, dispels the importance of technology in artistic creation, and even excludes technology from artistic production. In fact, the effective use of the new art production technology is conducive to the transformation of the old art production mode and perception. The aesthetic value brought by the application of technology is regarded as the beauty of technology, and it is the deep-seated thing of beauty. And as far as aesthetics is concerned, it will be too superficial to talk only about the beauty of art in man's morality and behavior. The more sophisticated the technology is, the more it can resolve the confrontation between purpose and regularity, and the more regular the application of technology is, the more beneficial it will be to achieve the form of freedom and the state of beauty. This article mainly revolves around "technical aesthetics", through the analysis of technology, craftsman spirit, technique to carry on the Tao, discusses the importance and the technical aesthetics of "skill" in Chinese contemporary art step by step. The aim is to provide a possible entrance to the scale and intellectual viewing of artistic works. This paper is divided into six chapters: the first chapter explains the concept of technical aesthetics and the purpose and significance of its technical aesthetics and creative practice in contemporary art. The second chapter analyzes the relationship between technology and art, and analyzes technology, craftsmanship and art in the relations of production of art to illustrate the role of technology. Technology is a method to solve problems. The more sophisticated the technology is, the more it can solve the confrontation between purpose and regularity, and the more regular the application of technology is, the more it can achieve the form of freedom and the realm of beauty. The third chapter discusses the basic definition of aesthetics and the concept of technological aesthetics. Technological aesthetics exists and has aesthetic value. Understanding technical aesthetics is conducive to finding an entrance to the viewing of contemporary art with various forms and complex forms of art, which can be viewed in terms of scale and wisdom. The fourth chapter analyzes the technological aesthetics of Chinese contemporary art by combining the occurrence of Chinese contemporary art and the prosperity of Chinese contemporary art created by galleries art galleries and art auctions in the last ten years. The fifth chapter combines personal works to analyze the existence of technical aesthetics in the works and the impact on the creation of individual works. The sixth chapter summarizes the significance and limitation of technical aesthetics in contemporary art.
【学位授予单位】：四川美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J01
本文编号：2467098
[Abstract]:The view of art no longer relies solely on the information provided by ideas and diagrams, but can be viewed from multiple dimensions. Cubism got rid of the aesthetic of imitating objects in handwriting and opened the way for intellectual viewing. Nowadays, the audience can also liberate the habitual viewing mode according to the concept and style of the works from the aesthetic point of view of the technical aesthetics. When aesthetic circles talk about aesthetics, technical aesthetics is seldom talked about and often absent. The idea that everyone is an artist is put forward by the German conceptual artist Joseph Boyce (Joseph Beuys), who believes that everyone can participate in art and that art is not the artist's patent. Artistic creation is something everyone can enjoy. It eliminates the boundary between art and life, dispels the importance of technology in artistic creation, and even excludes technology from artistic production. In fact, the effective use of the new art production technology is conducive to the transformation of the old art production mode and perception. The aesthetic value brought by the application of technology is regarded as the beauty of technology, and it is the deep-seated thing of beauty. And as far as aesthetics is concerned, it will be too superficial to talk only about the beauty of art in man's morality and behavior. The more sophisticated the technology is, the more it can resolve the confrontation between purpose and regularity, and the more regular the application of technology is, the more beneficial it will be to achieve the form of freedom and the state of beauty. This article mainly revolves around "technical aesthetics", through the analysis of technology, craftsman spirit, technique to carry on the Tao, discusses the importance and the technical aesthetics of "skill" in Chinese contemporary art step by step. The aim is to provide a possible entrance to the scale and intellectual viewing of artistic works. This paper is divided into six chapters: the first chapter explains the concept of technical aesthetics and the purpose and significance of its technical aesthetics and creative practice in contemporary art. The second chapter analyzes the relationship between technology and art, and analyzes technology, craftsmanship and art in the relations of production of art to illustrate the role of technology. Technology is a method to solve problems. The more sophisticated the technology is, the more it can solve the confrontation between purpose and regularity, and the more regular the application of technology is, the more it can achieve the form of freedom and the realm of beauty. The third chapter discusses the basic definition of aesthetics and the concept of technological aesthetics. Technological aesthetics exists and has aesthetic value. Understanding technical aesthetics is conducive to finding an entrance to the viewing of contemporary art with various forms and complex forms of art, which can be viewed in terms of scale and wisdom. The fourth chapter analyzes the technological aesthetics of Chinese contemporary art by combining the occurrence of Chinese contemporary art and the prosperity of Chinese contemporary art created by galleries art galleries and art auctions in the last ten years. The fifth chapter combines personal works to analyze the existence of technical aesthetics in the works and the impact on the creation of individual works. The sixth chapter summarizes the significance and limitation of technical aesthetics in contemporary art.
【学位授予单位】：四川美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J01
【参考文献】
相关期刊论文 前2条
1 高鑫;;技术美学研究(下)[J];现代传播(中国传媒大学学报);2011年03期
2 冯博一;徐冰文字的延续与延伸[J];美术观察;2002年01期
，本文编号：2467098
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