【作者】 王亚敏；

【导师】 周长江；

【作者基本信息】 华东师范大学 ， 艺术语言学， 2014， 博士

【摘要】 从“新绘画”多线索及体系化的语言边界实验角度,本文尝试较为全面地梳理和阐释中国当下新的绘画创作实践。当下绘画的梳理和阐释的角度与范围、其理论建构的偏颇与期待等诸多问题是本文写作的缘由。总体上来说,一方面存在着诸如偏重社会学指涉等非语言研究切入角度、缺乏较为全面的梳理阐释等问题,一方面,当绘画已经将语言边界实验现场全面展开和呈现的时候,需要一种纠偏建构性的、对其实验系统深入和较为全面的考察,这正是本文主要内容之所在。从图像修辞、文字侵入、转向行动、媒介形态迁移等相关线索,本文展开新绘画的语言边界实验考察。新绘画在图像的句法、各类图像化语法、艺术史图像的引用的语法等方面所实验的图像之修辞写作；图像之外,新绘画在图像和文字之间、文字在绘画中的一般呈现形式、图文性的“艺术家之书”、文字“物化”、文字表达的透明性等方面所实验的,描绘文字而侵入绘画的言说；图文的绘画作品之外,新绘画在凸显过程性、现场性、合作和组织等方面的行动语言；绘画本身之外,新绘画在影像世界中的绘画、雕塑的和装置的绘画、数字媒介为主的新媒体转译的绘画等方面迁移变形的存在性自述等等。当下新绘画实验沿上述语言边界相关线索体系化泛延而展开,对此的梳理阐释重构了一个总体的实验现场——一个主要基于绘画自身修辞的、语言意义上的异常开放与混杂的边界实验景观,一个当下绘画的不确定的实验形态。以此,本文尝试为中国当下新绘画的阐释与判断、意义与价值建构提供基础。更多还原

【Abstract】 This dissertation try to sort out and explain the creative practice of the Chinese contemporary "New Painting" more comprehensively from the angle of the language boundary experimenting through systematized clues. Many of the current problems of the angle and scope of the interpretation of New Painting, and its biased theoretical construction are the reasons of this writing. Generally speaking, because of the research problems of present New Painting such as the emphasis of the sociology referential non-language point of view and the needs of more comprehensive interpretation, etc, when present New Painting’s experiments has given the scene in full swing experimenting the language boundary, we needs a corrective constructing investigation of New Painting focusing on the language border experimental system in-depth and more comprehensively, which is this dissertation’s main cofflgjtf:is, according largely to the language boundary referential clues of the New Painting’s image rhetoric, the invasion of the words into New Painting, the action turn of New Painting and it’s morphological media, this dissertation investigates the language boundaries experiments of systematized clues. New Painting’s rhetoric or writing experimented by all kinds of image syntax or image oriented grammar, art history image quoted grammar; New Painting’s "writing" expression of painted words’invasion into painting by means of experiments between image and words, of words’general presented form in painting, graphic "artist’s book", the "materialized" words, and the transparency of words’expression, which being out of the boundary of image; New Painting’s action language of it’s emphasis on process, on-site meaning and cooperation, which being out of the boundary of painting with images and words; New Painting’s self-description of it’s morphological media existence by the means of painting in the world of photography images, painting sculptures and installations, painting translated by digital media-based new media art, which being out of the boundary of painting itself, etc. To combing and interpreting present New Painting’s systematized pan-extension experiments carried out along with abovementioned language boundary referential clues gives the overall landscape of it’s language border experiments site, namely to synthetically presents it’s experiments’landscape site with unusually opened and mixed borders based mainly on it’s own rhetoric and language significance, a present experimental form of the uncertainty of New Painting, this dissertation try to provide a basis for the interpretation and judgment, meaning and value construction of present Chinese contemporary New Painting.更多还原