二十世纪九十年代以来中国油画市场化倾向探析
发布时间：2019-01-02 08:07
【摘要】：艺术市场的流通系统是由艺术家、批评家、经营者(或经纪人)、收藏家、博物馆和研究者组成的。本文以艺术市场的流通系统的各主要环节为线索,对上世纪90年代以来的中国油画市场化进程进行了梳理,进而对艺术市场的一些现象与问题进行了较为深入的阐述。 在涉及的诸多问题中,本文尤其对油画市场中介机构的兴起、进入国内市场的油画作品类别以及经济发展对收藏群体形成的作用三个问题进行了重点阐述。 艺术的中介机构分为一级市场和二级市场,一级市场是画廊,二级市场包括拍卖行和博览会。国外的艺术市场一般都是先有画廊,后有拍卖行。中国的画廊从上世纪80年代出现以后,就一直很不景气,艺术品拍卖行直到90年代初才出现,现在却比画廊火爆得多,似乎大家买画都要先去拍卖行。所以说中国的艺术市场中的中介机构乃至整个艺术市场虽在上升但还在逐渐整合阶段,远远没有成熟。 油画在中国的发展只有一百多年的历史,作品的积累远不如中国书画丰富,总体上可分为五大类:以徐悲鸿、林风眠为代表的20世纪前期留学海外的早期油画家作品;以赵无极、吴冠中为代表的具有东方传统品格的海内外华人油画家作品;新古典倾向的学院派油画作品;多元化的当代艺术油画作品以及革命历史题材油画作品。 经济的发展导致社会对艺术产品的消费需求的增加,艺术收藏者大量增加,使艺术的市场化成为可能。本文通过人均国民生产总值(GDP)、公众消费的恩格尔系数、中产阶级的形成三个方面的分析印证了中国经济发展水平已初步具备了艺术市场启动的基本条件的事实。 “文不言商,士不理财”的时代已经过去,艺术家正以积极的态度融入市场,然而艺术家在商业化中的迷失,艺术商业化所带来的艺术水准的降低,中国艺术市场的不规范导致的市场混乱及某些繁荣假象等都是不可回避的问题。本文撰写的初衷就是深入研究艺术市场中的各个环节及各种相关因素,为艺术家的定位、市场的规范提供参考。当前国内市场化、产业化是个热门话题,但大部分研究集中在影视行业中,造型艺术领域虽然多有人谈论,但目前作为主要研究对象的论著、文章并不多。本文以油画市场作为视角,以小窥大,对艺术市场化的研究具有现实意义。 文中运用了社会学、统计学、田野调查及比较的方法,力图使本文结构清晰、资料详实、观点明确。
[Abstract]:The art market circulation system is composed of artists, critics, operators (or brokers), collectors, museums, and researchers. Based on the main links of the circulation system of the art market, this paper combs the marketization process of Chinese oil painting since the 1990s, and then expounds some phenomena and problems of the art market. Among the many problems involved, this paper focuses on three issues: the rise of oil painting market intermediary organizations, the types of oil paintings entering the domestic market and the role of economic development in the formation of collectible groups. Art intermediaries are divided into primary market and secondary market, primary market is gallery, secondary market includes auction house and fair. Foreign art markets are generally first there are galleries, then auction houses. Chinese galleries have been in recession since the 1980s, and art auction houses, which did not appear until the early 1990s, are now far more popular than galleries, as if they had to go to auction houses first. Therefore, the intermediary institutions and even the whole art market in China's art market are rising, but still in the stage of gradual integration, far from mature. The development of oil painting in China is only more than one hundred years of history, the accumulation of works is far less abundant than Chinese painting and calligraphy, as a whole can be divided into five categories: Xu Beihong, Lin Fengmian as the representative of the early 20th century overseas oil painters; Represented by Zhao Wuji and Wu Guanzhong, Chinese oil painters at home and abroad with oriental traditional character; academic-school oil paintings with neo-classical tendencies; diversified contemporary art oil paintings; and oil paintings with revolutionary historical themes. The development of economy leads to the increase of consumption demand of art products and the increase of art collectors, which makes the art marketization possible. Through the analysis of Engel's coefficient of (GDP), public consumption and the formation of middle class, this paper confirms the fact that China's economic development level has preliminarily possessed the basic conditions for the initiation of the art market. The era of "no business, no money" has passed, and artists are integrating into the market with a positive attitude. However, the artists are lost in commercialization, and the artistic standards brought about by the commercialization of art have been lowered. The market chaos and some prosperity illusion caused by the nonstandard of Chinese art market are unavoidable problems. The original intention of this paper is to study the various links and related factors in the art market in order to provide a reference for the artist's orientation and the standard of the market. At present the domestic marketization industrialization is a hot topic but most of the research is concentrated in the film and television industry. Although there are many people talking about the plastic arts field there are few articles as the main research object at present. This article takes the oil painting market as the angle of view, with the small peek at the big, has the realistic significance to the art marketization research. In this paper, sociological, statistical, field investigation and comparison methods are used to make the structure clear, the data detailed and the viewpoint clear.
【学位授予单位】：清华大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：J213;J124
本文编号：2398240
[Abstract]:The art market circulation system is composed of artists, critics, operators (or brokers), collectors, museums, and researchers. Based on the main links of the circulation system of the art market, this paper combs the marketization process of Chinese oil painting since the 1990s, and then expounds some phenomena and problems of the art market. Among the many problems involved, this paper focuses on three issues: the rise of oil painting market intermediary organizations, the types of oil paintings entering the domestic market and the role of economic development in the formation of collectible groups. Art intermediaries are divided into primary market and secondary market, primary market is gallery, secondary market includes auction house and fair. Foreign art markets are generally first there are galleries, then auction houses. Chinese galleries have been in recession since the 1980s, and art auction houses, which did not appear until the early 1990s, are now far more popular than galleries, as if they had to go to auction houses first. Therefore, the intermediary institutions and even the whole art market in China's art market are rising, but still in the stage of gradual integration, far from mature. The development of oil painting in China is only more than one hundred years of history, the accumulation of works is far less abundant than Chinese painting and calligraphy, as a whole can be divided into five categories: Xu Beihong, Lin Fengmian as the representative of the early 20th century overseas oil painters; Represented by Zhao Wuji and Wu Guanzhong, Chinese oil painters at home and abroad with oriental traditional character; academic-school oil paintings with neo-classical tendencies; diversified contemporary art oil paintings; and oil paintings with revolutionary historical themes. The development of economy leads to the increase of consumption demand of art products and the increase of art collectors, which makes the art marketization possible. Through the analysis of Engel's coefficient of (GDP), public consumption and the formation of middle class, this paper confirms the fact that China's economic development level has preliminarily possessed the basic conditions for the initiation of the art market. The era of "no business, no money" has passed, and artists are integrating into the market with a positive attitude. However, the artists are lost in commercialization, and the artistic standards brought about by the commercialization of art have been lowered. The market chaos and some prosperity illusion caused by the nonstandard of Chinese art market are unavoidable problems. The original intention of this paper is to study the various links and related factors in the art market in order to provide a reference for the artist's orientation and the standard of the market. At present the domestic marketization industrialization is a hot topic but most of the research is concentrated in the film and television industry. Although there are many people talking about the plastic arts field there are few articles as the main research object at present. This article takes the oil painting market as the angle of view, with the small peek at the big, has the realistic significance to the art marketization research. In this paper, sociological, statistical, field investigation and comparison methods are used to make the structure clear, the data detailed and the viewpoint clear.
【学位授予单位】：清华大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：J213;J124
【引证文献】
相关硕士学位论文 前2条
1 桑田;从当代艺术市场现状看画廊的美术史观[D];汕头大学;2011年
2 赵金圆;中国油画市场对油画创作的影响[D];哈尔滨师范大学;2012年
，本文编号：2398240
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