【作者】 曾令香；

【导师】 杨奇瑞； 张晓凌；

【作者基本信息】 中国美术学院 ， 美术学， 2013， 博士

【副题名】以“浙江馆”为例

【摘要】 从一定意义上讲，科学研究，当然包括艺术研究，就是在知识的谱系里不断地从广度、深度和精度上拓展新篇章。正如贡布里希所说：“历史很像瑞士奶酪，充满了孔隙。”本文试图以“无知者无畏”的胆量，以发生不久的2010年上海世博会浙江馆的创作为重要案例，对我国公共艺术研究现状下进行一番填补空白式的、较深入的研究。“一沙一世界、一花一天堂”。浙江馆作为发生在当下的一个成功的公共艺术实践案例，它具备了许多成功的公共艺术创作方法和规律、及其独特性，认真研究它，使之成为21世纪乃至将来公共艺术创作的一个可靠的个案，为中国公共艺术发展提供历史借鉴和经验，并以自己的多年公共艺术实践创作经验，为今后的有志于公共艺术创作者构建一套可资参考的方法论，是本文的初衷。本文的重点探讨内容是浙江馆的创作研究。从一定程度讲，公共艺术创作的过程与方法决定了公共艺术作品的最终面貌。对揭开公共艺术创作的神秘面纱、感受公共艺术创作的心理、分析公共艺术生成的机制和文化表述方式等都非常重要。本文将深度揭示“浙江馆”作为公共艺术创作的方法论。这里将会结合公共艺术创作与地域文化、公共空间以及视觉特性的等几层关系，从构思阶段的“开放视野与动态思维”到“开合多变的过程流”、“抽象的提炼”、“解构与异变的表现”“公共又独特的元素”、“多元互动的特色”、“艺术化与科技的融合”等章节去细致探讨公共艺术创作的创作方法及过程，并通过“浙江馆”与创作者、“浙江馆”与公众这两个章节从另一角度去阐释公共艺术创作方法的产生缘由与执行效果。当然，为了丰富论文的结构支撑，本文会同时枚举许多当代国内外公共艺术新作。结论部分将会站在中国的公共艺术发展背景和新技术时代下探讨“浙江馆”创作的创新点、价值以及公共艺术的可能性。本文是将公共艺术的研究从静态的研究转向创作过程的动态研究，把目光转向创作过程的发显显现；转向对主题、构思、创意及制作的演绎；转向对感性经验和地域文化深沉积淀的生成揭示；转向公共艺术结合公共空间创作的流动过程，也许，是开拓公共艺术“过程美学”的新领域的斗胆的尝试。这是浙江馆创作研究的理论意义所在。另外，试图构架一个在现有概念和研究状况下的公共艺术创作方法新体系、尤其是倡导一种适合新媒体时代的公共艺术的多元互动的实践追求，能希望成为怀有后来继续致力于公共艺术创作的赤子们诚之心的后来者“登楼撤梯”之梯、并能让他们在实践之中站得更高望得更远，是本篇论文的实践意义所在。更多还原

【Abstract】 No doubt that, in a certain sense, scientific research, definitelyincluding the artistic research, is to extend new chapters out of the breadth,depth and accuracy in the lineage of knowledge. As E.H. Gombrich says:“History is much like Swiss cheese with manyholes.” Therefore, thisdissertation attempts to further study, with a courage of “whoever ignoranthas nothing to fear”, the creation of the Zhejiang Pavilion in the2010Shanghai World Expo witnessed recently, in our background of the public artstudy, to fill in some blankets.“A sand stands for a world, and a flowera paradise.” The Zhejiang Pavilion, as a successful case embodying the spiritof the public art practice in the moment, must be involved with many successfulmethods and laws of the public art creation, as well as its peculiarity anduniqueness. My basic and original goal of this dissertation is to set it asa credible and reliable example of the creation of public art, seriouslystudied, of the21st century and even in the future to provide historicalreference and experience for the development of public art in China, and tocreate, based on my own experience during many years of public art practice,a set of methodology for the future generations with the determinations andpursuits of the public art to refer to.The most important of the points this dissertation focuses on is the studyon the creation of Zhejiang Pavilion. The process and media of the publicartistic creation, speaking from a certain extent, determine the finalappearance of the works of public art. It is of great importance to unveilthe mystery of the creation of public art, feel the psychological feelingsduring the public artistic creation, and to analyze the mechanism generatingthe public art and the means of the cultural presentation and so forth.This thesis aims to reveal the methodology of the creation of the ZhejiangPavilion as a work of Public Art to the fullest measure. Hence, here itexplores elaborately and carefully the creative processes and methods of the creation of public art, combined with the multi-relationships between thecreation of public art, the local culture, public space and visualcharacteristics of several layers of relationship, from the chapter onBroaden the Eyes and Dynamic Thinking in the conceptual stage to The VariableProcesses of Opening and Closing, to Abstract Refinement to Deconstructionand the Performance of the Mutation, to the Extraction of Common-uniqueElements, to the Grasp of Multiple interactive features, to the Explorationof the Artistic Use of Modern Technology. And also, from another angle throughthe two chapters on the Zhejiang Pavilion and its creators and the ZhejiangPavilion and the public, it interprets the cause of the generation of themethods of the Public Art as well as its executive effects. Surely, in orderto enrich the structural support of the thesis, this article also enumeratesmany new contemporary works in the public art at home and abroad. Theconclusion centers on exploring the innovative point and the value of thecreation of the Zhejiang Pavilion, as well as the possibility of Public Art,set in the background of the development of the Chinese public art and theera of new technologies.This thesis is a trigger to shift the study on the public art, from thestatic to the dynamic of the creative process; to turn the eyes to the creativemajor process; to the interpretation of the themes, the concepts, the creativeand the production; to the generative discovery of the accumulation of theemotional experience and the geographical and cultural survival; to the fluidprocess of the creation of public art combined with the public space, whichperhaps is a venturing attempt to open up new areas of Process Aestheticsof the public art. This is the theoretical significance of the study on thecreation of the Zhejiang Pavilion.In addition of this, it strives to structure a system of the methodologyof the public art creation under the existing concept and researchcircumstances, and especially advocates a pursuit of the diversified andinteractive practice for Public Art suitable to the new media age, which isable to become a helper for the pure latter generations keeping on beingdevoted to the creation of Public Art “to reach the upper and remove the ladder”, and for them to get a farther view from a higher position in thepractice, where the practical significance of this thesis resides.更多还原