对“观念至上”的反思

【作者】 蒯连会；

【导师】 刘伟冬；

【作者基本信息】 南京艺术学院 ， 美术学， 2009， 博士

【副题名】论绘画本体与绘画艺术当代性之关系

【摘要】 绘画自诞生之始自今,一直在不断的发生着丰富的变化。虽然,我们不合适用发展二字来论之,但确实,绘画衍生出许多更加细致的艺术项目。同时,随着物质生产、科学技术、人们的思想观念以及时代的变迁,绘画也似乎经历了一次次的“起死回生”。那么,在今天,后现代主义盛行、大众文化泛滥、精英文化边缘化、各种“观念至上”的艺术和理论高呼“观念”、“当代”的情况下,绘画又将趋向怎样的境地?绘画与“当代”难道真的矛盾大于和谐,以致终结?在此,本文围绕油画,以特定的当代背景为主要出发点,从理论和实践的角度来分析论证:绘画在“当代”存在的理由、意义何在?绘画与“观念”以及“绘画观念”的关系如何?绘画该具有怎样的“当代性”前提以及具有怎样的“当代性”观念等等。本文一共分为七个部分。第一部分简略交待选题的缘起、研究现状、研究意义、研究思路,并对本文相关的核心概念加以界定。第二部分论述绘画的双重构成特性、绘画的“自我”特质、以及绘画观念一贯存在并一直与绘画发展密切相关的事实角度,以阐述绘画存在的意义与理由。第三部分通过阐述两方绘画当代性的“反叛”本质进而分析当代西方绘画“当代性”的表达方式。第四部分对中国当代油画的非视觉性标准的格局进行分析与解读,从而阐明“观念至上”的去绘画性的当代样式主义是当代中国油画的最大障碍。第五部分从当代性、绘画性的角度分析中国当代油画当代性的前提,以论述绘画本体与绘画当代性的非矛盾性。第六部分从社会学角度分析:之于当前大众文化审美泛化的背景,“精英文化”意识是引导真正具有当代性的中国当代文化的关键,并强调提升绘画精神中积极的民族因素对创造有“质量”的当代性新文化的重要性。第七部分作为文章的结语,提出作为知识分子的当代艺术家,应坚守“有所为,有所不为”的准则,不仅应该具有作为知识分子的责任感,而且还应保持作为艺术家的独特个人感受。更多还原

【Abstract】 The style of painting has been constantly changing since painting was considered as an art.Although the change is not best termed development,painting indeed derived from many more delicate artistic forms. Meanwhile,with the development of industrial production,science and technology,along with the changes of people’s thinking and times,painting has survived many hardships from hopeless straits.At present,with the prevalence of post-modernism and the excessively overflowing of mass culture,as well as marginalization of cultural elites in society and various arts and theories on the conception of ideological supremacy in support of ideology and contemporaneity,what tendency will the art of painting show in the future? Do painting and contemporaneity really contradict,rather than coordinate each other,so much so that the two are incompatible as oil and vinegar?Hereinafter,the reason and significance of the existence of paining in contemporary era,the connection between painting and ideology or ideology on paining and the premise for the existence of painting as an artistic form with contemporaneity,the contemporaneity itself and the like will be intensively studied both theoretically and practically in the thesis,concerning the oil painting.The thesis is made up of seven chapters.Chapter One serves as an introduction of the origination of the topic as well as the current situation, significance and methods of the study,and definitions for some core concepts relative to the topic.The reason and significance of the existence of painting as an art are discoursed upon in Chapter Two,based on the fact that the characteristics of double composition and ego in painting along with the idea expressed in painting have long existed as well as directly bond up with the development of the art.Chapter Three is an analysis on the expression of contemporaneity in contemporary western paintings conveyed in expatiating on their rebellion against contemporaneity.In the fourth chapter,with the analysis and interpretation of the non-visual standard pattern,the non-pictoriality with the conception of ideological supremacy and the contemporary mannerism of pictoriality are clarified to be the greatest obstacle to the contemporary Chinese oil painting.The constancy of the essence and the contemporaneity in painting is expounded in Chapter Five,based on the analysis of the contemporaneity of Chinese contemporary oil painting from the perspectives of contemporaneity and pictoriality.The sixth chapter is an analysis from the perspective of sociology:in consideration of the cultural background of herd aesthetics,the turn of Chinese contemporary culture lies in the consciousness of elite culture;the enhancement of the positive aspects in ethnic factors carries much weigh in high-quality new cultural innovation in the contemporary era.Chapter Seven is the concluding part of the thesis,in which an idea is put forward that a well-educated contemporary artist must conduct properly,with a sense of responsibility as an intellectual as well as individuality as an artist.更多还原