【摘要】：自藝術(shù)產(chǎn)生以來,模仿與借鑒一直和藝術(shù)的發(fā)展相關(guān)聯(lián),模仿與借鑒一直被認(rèn)為是藝術(shù)創(chuàng)作中不可缺少的重要組成部分。無論是傳統(tǒng)的學(xué)院派教學(xué)還是新藝術(shù)流派的產(chǎn)生,或是從藝術(shù)的形式、觀念、現(xiàn)象和本質(zhì)等方面出發(fā),我們都能看到模仿與借鑒的影子,模仿與借鑒也隨著藝術(shù)發(fā)展而實(shí)現(xiàn)這自我新發(fā)展。課題探討在藝術(shù)形態(tài)多元化的今天,模仿與借鑒也產(chǎn)生了許多新的問題,使得深入分析模仿與借鑒成為一種需要性,這種需要不僅限于了解模仿與借鑒的字面涵義,更要明白隨著時(shí)代的進(jìn)步,模仿與借鑒必然會(huì)發(fā)生改變,這些改變的本質(zhì)與如今藝術(shù)的發(fā)展有著千絲萬縷的聯(lián)系。藝術(shù)形態(tài)的變化需要我們從新對(duì)藝術(shù)的本質(zhì)和現(xiàn)象作出解釋。在這種情況下,使得模仿與借鑒也同樣要必須面對(duì)和解決新的問題。本文通過在面對(duì)大量圖片信息存在的當(dāng)下,藝術(shù)主體該怎樣面對(duì)藝術(shù)創(chuàng)作中的模仿與借鑒進(jìn)行分析。并通過對(duì)模仿和借鑒由淺入深的探討更清晰的認(rèn)識(shí)和了解模仿與借鑒的在當(dāng)代藝術(shù)中的新含義及藝術(shù)創(chuàng)作中創(chuàng)造力的重要性。本文一共分為六個(gè)部分。第一部分對(duì)模仿與借鑒進(jìn)行了概述,包括了模仿與借鑒的概念及相關(guān)聯(lián)系。第二部分描述了在藝術(shù)創(chuàng)作中,對(duì)模仿與借鑒的“誤讀”,并通過例子分析產(chǎn)生這種誤讀的原因及影響并提出了模仿與借鑒在藝術(shù)創(chuàng)作中“判斷點(diǎn)”和創(chuàng)造力的把握。第三部分提出了模仿與借鑒是藝術(shù)創(chuàng)作的方法論,緊接著引出第四部分,提出這種方法論在后現(xiàn)代主義藝術(shù)理論中的轉(zhuǎn)嫁及賦予新的含義并提出了第五部分和第六部分:模仿與借鑒在當(dāng)代藝術(shù)中創(chuàng)造力的升華問題以及當(dāng)代藝術(shù)下的思考。
[Abstract]:Since the emergence of art, imitation and reference have been associated with the development of art. Imitation and reference have been regarded as an indispensable part of art creation. Whether it is the emergence of traditional schools of learning or new art schools, or from the aspects of art form, concept, phenomenon and essence, we can all see the shadow of imitation and reference. Imitation and reference also with the development of art to achieve this new self-development. Subject discussion in the art form diversification today, imitation and reference have also produced many new problems, make in-depth analysis of imitation and reference become a need, this need is not limited to understanding the literal meaning of imitation and reference. With the progress of the times, imitation and reference are bound to change, and the essence of these changes is inextricably linked to the development of art today. The change of art form needs us to explain the essence and phenomenon of art. In this case, the imitation and reference must also face and solve new problems. In the face of a large number of picture information, this article analyzes how the art subject should face the imitation and reference in the art creation. And through the imitation and use for reference from simple to deep discussion more clear understanding and understanding of imitation and reference in the new meaning of contemporary art and the importance of creativity in artistic creation. This paper is divided into six parts. The first part summarizes the imitation and reference, including the concept of imitation and reference and related relations. The second part describes the "misreading" of imitation and reference in artistic creation, and analyzes the causes and effects of this misreading through examples, and puts forward the "judgment point" and the grasp of creativity in the art creation of imitation and reference. The third part puts forward that imitation and reference is the methodology of artistic creation, and then leads to the fourth part. This paper puts forward the transfer and new meaning of this methodology in the postmodernism art theory and puts forward the fifth and sixth parts: the sublimation of creativity in the contemporary art and the thinking under the contemporary art.
【學(xué)位授予單位】：魯迅美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J04

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