中国九十年代玩世现实主义和波普艺术的心理分析

发布时间：2018-03-13 12:47

本文选题：体制内　切入点：内容与形式　出处：《西南师范大学》2002年硕士论文　论文类型：学位论文

【摘要】： 现今世界全球经济文化的传播和交流，西方与东方的对话与互涉已成必然，随着中国改革开放的深入和对外交流的加强，西方经济文化的涌入更是在所难免。中国80年代的现代艺术基本上是抛弃了传统艺术的图式和理念，把西方现代艺术移置到中国的本土，，这是西方现代艺术的集体无意识在中国本土的继承和发展，但同时融入了中国具体的时代特征和图像经验。中国90年代玩世现实主义和波普艺术的边缘性是相对于官方主流体制存在的。他们在西方艺坛获得极大成功有多种原因。玩世现实主义艺术的图像呈现的是日常化的行为，体现了生活的世俗性，作品的意指是，逃避崇高，消解意义，走进世俗。中国90年代的波普艺术统属于生活波普。90年代初的生活波普与后来的艳俗艺术有些差异性，前者的意指和观念都很明确，后者却是一种形式主义的东西，缺乏现实生活的参照系，有功利主义和实用主义的倾向。
[Abstract]:Nowadays, the spread and exchange of global economy and culture in the world, the dialogue and interaction between the West and the East have become inevitable. With the deepening of China's reform and opening up and the strengthening of foreign exchanges, The influx of western economy and culture is inevitable. In 80s, modern art in China basically abandoned the schemata and concepts of traditional art and shifted western modern art to China's native land. This is the inheritance and development of the collective unconscious of western modern art in China, but at the same time, it incorporates the specific characteristics of the times and image experience of China. In 90s, the marginality of Chinese world realism and pop art existed relative to the official mainstream system. There were many reasons for their great success in the western art world. It embodies the secular nature of life, and works mean to escape the sublime, to dispel the meaning, and to enter the secular world. The pop art of 90s in China belongs to the life pop of the early 1990s and the later showy art. The former has a clear meaning and concept, but the latter is a formalistic thing, lacking the reference frame of real life, with the tendency of utilitarianism and pragmatism.
【学位授予单位】：西南师范大学
【学位级别】：硕士
【学位授予年份】：2002
【分类号】：J120.2

【引证文献】