中国当代“媚俗艺术”浅析
摘要
“媚俗艺术”其实并不是一种独立的艺术形式,它更多的是一种艺术观念和艺术表现手法,渗透于各种各样的艺术形式(包括波普艺术、表现主义、甚至现实主义等等)之中。在这些纷繁复杂艺术形式中都包含有“媚俗性”的成分。在本论文中为了便于研究和称呼,我姑且将其统称为“媚俗艺术”。
本论文是以“媚俗艺术”为主要研究对象,探寻“媚俗”在西方及中国汉语中的词源学含义,分析这种艺术形式的产生的背景及根本原因以及它的发展状况,表现形式,优缺点等。“媚俗艺术”是从20世纪90年代以来中国当代艺术的一种普遍的艺术现象,他们通过媚俗的形式来表达个人对于整个社会的看法,在中国美术史上具有重要的历史意义。
本论文整体分为四个部分,第一部分是本文的开头,主要讲“媚俗”的涵义,包括“媚俗”的西方词源学涵义及运用语境、“媚俗”的中文含义。
第二部分主要讲中国当代“媚俗艺术”产生的时代背景,主要包括社会背景、西方文学的影响、新艺术观念和图式的影响、艺术家本身的生存状态。
第三部分是本文的中心,主要讲中国当代“媚俗艺术”的表现形式“泛政治媚俗”、“文化的媚俗”、“图像的媚俗”。通过对“媚俗艺术”的表现形式进行分解分析,让读者进一步了解它的各个方面。当然同一幅作品来说媚俗艺术并不是分裂的,它可能同时具备这三种艺术表现形式。
第四部分是本文的结尾,主要讲中国当代“媚俗艺术”的意义与价值,包括“媚俗艺术”的缺陷不足、“媚俗艺术”的意义与价值。通过分析它的价值和不足让我们能取其精华,去其糟粕,更好的指导后来的艺术家。
结语在总结全文的基础上,通过对“媚俗艺术”在中国当代艺术中的现实意义进行再剖析,使全文的主旨获得了升华。
"Kitsch art" is not really an independent art form, it is more of an art concepts and techniques of artistic expression, and infiltration in a variety of art forms (including pop art, expressionism, and even realism, etc., etc.) into. In these complicated art forms are included in the "kitsch" of the ingredients. In this paper, in order to facilitate the research and call, I may be referred to as "kitsch art."
This paper is based on "kitsch art" as the main object of study, search for "kitsch" in the West and of the Chinese language in the etymological meaning of analysis of this art form the background and the underlying causes as well as its state of development, manifestations, advantages and disadvantages and so on. "Kitsch art" from the 20th century, Chinese contemporary art since the 90s a general phenomenon of art, they adopted the form of kitsch to express personal views on society as a whole, in the history of Chinese art has important historical significance.
In this paper, as a whole is divided into four parts, the first part is the beginning of this article, the main stresses "kitsch," meaning, including "kitsch" in the West etymological meaning and use of context, "kitsch" in Chinese meaning.
The second part of the main stresses of contemporary China, "kitsch art" produced by the background, mainly including social background, the impact of Western literature, the new artistic ideas and schemata influence the artist's own existence.
The third part is the center of this article, the main talk about Chinese contemporary "kitsch art" form of "pan-political kitsch," "culture, kitsch," "the image of the kitsch." Through the "kitsch art" performance of the form of decomposition analysis to give readers a better understanding of its aspects. Of course, it works with a kitsch art is not a split, it may also possess more than these three kinds of artistic expressions
The fourth part is the end of this article, the main talk about Chinese contemporary "kitsch art" meaning and value, including "kitsch art" lack of defects, "kitsch art" meaning and value. By analyzing its value and shortcomings so that we can draw upon its cream to its dregs, the better to guide subsequent artists.
In conclusion, on the basis of the full text, through the "kitsch art"in Chinese contemporary art re-analysis of the pratical significance, so that the thrust of full acsess to the sublimation.
本论文是以“媚俗艺术”为主要研究对象,探寻“媚俗”在西方及中国汉语中的词源学含义,分析这种艺术形式的产生的背景及根本原因以及它的发展状况,表现形式,优缺点等。“媚俗艺术”是从20世纪90年代以来中国当代艺术的一种普遍的艺术现象,他们通过媚俗的形式来表达个人对于整个社会的看法,在中国美术史上具有重要的历史意义。
本论文整体分为四个部分,第一部分是本文的开头,主要讲“媚俗”的涵义,包括“媚俗”的西方词源学涵义及运用语境、“媚俗”的中文含义。
第二部分主要讲中国当代“媚俗艺术”产生的时代背景,主要包括社会背景、西方文学的影响、新艺术观念和图式的影响、艺术家本身的生存状态。
第三部分是本文的中心,主要讲中国当代“媚俗艺术”的表现形式“泛政治媚俗”、“文化的媚俗”、“图像的媚俗”。通过对“媚俗艺术”的表现形式进行分解分析,让读者进一步了解它的各个方面。当然同一幅作品来说媚俗艺术并不是分裂的,它可能同时具备这三种艺术表现形式。
第四部分是本文的结尾,主要讲中国当代“媚俗艺术”的意义与价值,包括“媚俗艺术”的缺陷不足、“媚俗艺术”的意义与价值。通过分析它的价值和不足让我们能取其精华,去其糟粕,更好的指导后来的艺术家。
结语在总结全文的基础上,通过对“媚俗艺术”在中国当代艺术中的现实意义进行再剖析,使全文的主旨获得了升华。
"Kitsch art" is not really an independent art form, it is more of an art concepts and techniques of artistic expression, and infiltration in a variety of art forms (including pop art, expressionism, and even realism, etc., etc.) into. In these complicated art forms are included in the "kitsch" of the ingredients. In this paper, in order to facilitate the research and call, I may be referred to as "kitsch art."
This paper is based on "kitsch art" as the main object of study, search for "kitsch" in the West and of the Chinese language in the etymological meaning of analysis of this art form the background and the underlying causes as well as its state of development, manifestations, advantages and disadvantages and so on. "Kitsch art" from the 20th century, Chinese contemporary art since the 90s a general phenomenon of art, they adopted the form of kitsch to express personal views on society as a whole, in the history of Chinese art has important historical significance.
In this paper, as a whole is divided into four parts, the first part is the beginning of this article, the main stresses "kitsch," meaning, including "kitsch" in the West etymological meaning and use of context, "kitsch" in Chinese meaning.
The second part of the main stresses of contemporary China, "kitsch art" produced by the background, mainly including social background, the impact of Western literature, the new artistic ideas and schemata influence the artist's own existence.
The third part is the center of this article, the main talk about Chinese contemporary "kitsch art" form of "pan-political kitsch," "culture, kitsch," "the image of the kitsch." Through the "kitsch art" performance of the form of decomposition analysis to give readers a better understanding of its aspects. Of course, it works with a kitsch art is not a split, it may also possess more than these three kinds of artistic expressions
The fourth part is the end of this article, the main talk about Chinese contemporary "kitsch art" meaning and value, including "kitsch art" lack of defects, "kitsch art" meaning and value. By analyzing its value and shortcomings so that we can draw upon its cream to its dregs, the better to guide subsequent artists.
In conclusion, on the basis of the full text, through the "kitsch art"in Chinese contemporary art re-analysis of the pratical significance, so that the thrust of full acsess to the sublimation.
引文
①马泰·卡林内斯库.现代性的五副面孔[M].顾爱彬李瑞华译,商务印书馆2004：252
②马泰·卡林内斯库.现代性的五副面孔[M].李瑞华译,商务印书馆2004：250
①马泰·卡林内斯库.现代性的五副面孔[M].顾爱彬李瑞华译,商务印书馆2004：253
①米兰·昆德拉.生命不能承受之轻[M].韩少功译,作家出版社,1995：295.
②米兰·昆德拉.小说的智慧[M].艾小明编译,时代文艺出版社,1992：105.
③米兰·昆德拉.生命不能承受之轻[M].韩少功译,作家出版社,1995：295.
④米兰·昆德拉.小说的智慧[M].艾小明编译,时代文艺出版社,1992：105.
①陶东风.文学理论基本问题[M].北京大学出版社,2004：206.
①张朝晖对高氏兄弟的采访,转自美术同盟网。
②《等待戈多》讲述了两个主人公一直在等待“戈多”,不知道“戈多”是谁或是什么,只是等待,其间,主人公们同过往的人以某种媚俗、无聊的方式进行交流来打发等待的时间,一直没有等到“戈多”,主人公们开始忍受不了,开始以莫名其妙的行为和语无伦次、自我调侃的方式消解“等待”的空虚、无聊,最后以仍没有等待到“戈多”而结束。
③曹微连征.“荒诞”世界及其意义[M].转于加缪.西西弗的神话[M].杜小真译,三联书店1987：125
①王岳川.中国后现代话语[M].中山大学出版社,2004：75.
①姚文放.当代审美文化批判[M].山东文艺出版社,1999：34.
①何桂彦.1976-2006“四川画派”批评文集[M].吉林美术出版社,2007.
①何桂彦.1976-2006“四川画派”批评文集[M].吉林美术出版社,2007.
①易英.纽约的没落——世界美术文献[M].河北美术出版社,2004：16.
①何桂彦.“圈子化”和“化圈子”——反思中国当代艺术的圈子问题[M].未发表。
①乔纳森·费恩伯格(美).1940年以来的艺术——艺术生存的策略[M].王春辰、丁亚雷译,易英审校,中国人民大学出版社,2006：324.
①马歇尔·伯曼.一切坚固的东西都烟消云散了—现代性体验[M].商务印书馆2003：167.
[1]米兰·昆德拉.帷幕[M].董强译,上海译文出版社,2006.
[2]米兰·昆德拉.生命不能承受之轻[M].韩少功译作家出版社,1995.
[3]米兰·昆德拉.小说的艺术[M].董强译.上海译文出版社,2004.
[4]保罗·福塞尔.恶俗：美国的种种愚蠢[M].中央编译出版社,2000.
[5]马泰·卡林内斯库.现代性的五副面孔[M].顾爱彬李瑞华译,商务印书馆.2004.
[6]吴士余主编.大众文化研究[M].三联书店,2001.
[7]陶东风.社会转型与当代知识分子[M].三联书店,1999.
[9]陆扬,王毅.大众文化与传媒[M].三联书店,2000.
[1 0]王岳川.中国后现代话语[M].中山大学出版社,2004.
[11]易英.纽约的没落—世界美术文献[M].河北美术出版社,2004.
[12]高名潞.中国当代美术史1985—1986[M].上海人民出版社,1991.
[13]雅克.德比奇等.西方艺术史[M].徐庆平译海南出版社,2002.
[14]舒可文.相信艺术还是相信艺术家[M].中国人民大学出版社,2003.
[15]易英.全球化背景下的中国前卫艺术[M].美术研究,2001.
[16]常宁生.国外后现代绘画[M].江苏美术出版社,2000.
[17]唐延清.国外后现代文学[M].江苏美术出版社,2003.
[18]王宏建,袁宝林.美术概论[M].高等教育出版社,994.
[19]许江.人文视野[M].中国美术学院出版社,2002.
[20]邱志杰.给我一个面具[M].中国人民大学出版社,2003.
[21]张晓凌.解构与重建的诗学[M].吉林美术出版社,1999.
[22]吴光华.汉英大词典[M].上海交通大学出版社,1993.
[23]乔纳森.费恩伯格1940年以来的艺术——艺术生存的策略[M].王春辰、丁亚雷译中国人民大学出版社,2006.
②马泰·卡林内斯库.现代性的五副面孔[M].李瑞华译,商务印书馆2004：250
①马泰·卡林内斯库.现代性的五副面孔[M].顾爱彬李瑞华译,商务印书馆2004：253
①米兰·昆德拉.生命不能承受之轻[M].韩少功译,作家出版社,1995：295.
②米兰·昆德拉.小说的智慧[M].艾小明编译,时代文艺出版社,1992：105.
③米兰·昆德拉.生命不能承受之轻[M].韩少功译,作家出版社,1995：295.
④米兰·昆德拉.小说的智慧[M].艾小明编译,时代文艺出版社,1992：105.
①陶东风.文学理论基本问题[M].北京大学出版社,2004：206.
①张朝晖对高氏兄弟的采访,转自美术同盟网。
②《等待戈多》讲述了两个主人公一直在等待“戈多”,不知道“戈多”是谁或是什么,只是等待,其间,主人公们同过往的人以某种媚俗、无聊的方式进行交流来打发等待的时间,一直没有等到“戈多”,主人公们开始忍受不了,开始以莫名其妙的行为和语无伦次、自我调侃的方式消解“等待”的空虚、无聊,最后以仍没有等待到“戈多”而结束。
③曹微连征.“荒诞”世界及其意义[M].转于加缪.西西弗的神话[M].杜小真译,三联书店1987：125
①王岳川.中国后现代话语[M].中山大学出版社,2004：75.
①姚文放.当代审美文化批判[M].山东文艺出版社,1999：34.
①何桂彦.1976-2006“四川画派”批评文集[M].吉林美术出版社,2007.
①何桂彦.1976-2006“四川画派”批评文集[M].吉林美术出版社,2007.
①易英.纽约的没落——世界美术文献[M].河北美术出版社,2004：16.
①何桂彦.“圈子化”和“化圈子”——反思中国当代艺术的圈子问题[M].未发表。
①乔纳森·费恩伯格(美).1940年以来的艺术——艺术生存的策略[M].王春辰、丁亚雷译,易英审校,中国人民大学出版社,2006：324.
①马歇尔·伯曼.一切坚固的东西都烟消云散了—现代性体验[M].商务印书馆2003：167.
[1]米兰·昆德拉.帷幕[M].董强译,上海译文出版社,2006.
[2]米兰·昆德拉.生命不能承受之轻[M].韩少功译作家出版社,1995.
[3]米兰·昆德拉.小说的艺术[M].董强译.上海译文出版社,2004.
[4]保罗·福塞尔.恶俗：美国的种种愚蠢[M].中央编译出版社,2000.
[5]马泰·卡林内斯库.现代性的五副面孔[M].顾爱彬李瑞华译,商务印书馆.2004.
[6]吴士余主编.大众文化研究[M].三联书店,2001.
[7]陶东风.社会转型与当代知识分子[M].三联书店,1999.
[9]陆扬,王毅.大众文化与传媒[M].三联书店,2000.
[1 0]王岳川.中国后现代话语[M].中山大学出版社,2004.
[11]易英.纽约的没落—世界美术文献[M].河北美术出版社,2004.
[12]高名潞.中国当代美术史1985—1986[M].上海人民出版社,1991.
[13]雅克.德比奇等.西方艺术史[M].徐庆平译海南出版社,2002.
[14]舒可文.相信艺术还是相信艺术家[M].中国人民大学出版社,2003.
[15]易英.全球化背景下的中国前卫艺术[M].美术研究,2001.
[16]常宁生.国外后现代绘画[M].江苏美术出版社,2000.
[17]唐延清.国外后现代文学[M].江苏美术出版社,2003.
[18]王宏建,袁宝林.美术概论[M].高等教育出版社,994.
[19]许江.人文视野[M].中国美术学院出版社,2002.
[20]邱志杰.给我一个面具[M].中国人民大学出版社,2003.
[21]张晓凌.解构与重建的诗学[M].吉林美术出版社,1999.
[22]吴光华.汉英大词典[M].上海交通大学出版社,1993.
[23]乔纳森.费恩伯格1940年以来的艺术——艺术生存的策略[M].王春辰、丁亚雷译中国人民大学出版社,2006.