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每一种艺术现象的涌起,都有其深刻而特殊的政治、经济以及文化背景。20世纪80年代末90年代初的中国,在特有的背景下必然形成带有时代独特的“玩世现实主义”这一艺术现象。这些特有的特征又可以归结于那个时代下的一种符号。在某一特定的语境下可以说,符号是一种艺术的总结。符号学是西方当下流行的一种艺术研究方法,它的开创者是瑞士语言学家索绪尔和美国哲学家皮尔士。夏皮罗的符号学研究考察了艺术作品中的人物姿态、位置、背景所蕴含的符号学意义;鲍尔强调阐释者选择的方式决定艺术品的意义;布赖森深入讨论了艺术符号学研究过程中“语境”和“文本”的关系问题,他们的研究不仅仅给西方传统艺术史带来了冲击,更重要的是给中国当代艺术也注入了新的活力。
The emergence of every kind of artistic phenomenon has its profound and special political, economic and cultural background. In the late 1980s and early 1990s, China, in the unique context, inevitably formed an art phenomenon with unique characteristics such as “cynical realism.” Again, these unique characteristics can be attributed to a symbol under that era. In a particular context can be said that the symbol is a summary of the arts. Semiotics is an art research method currently popular in the West. Its pioneers are Saussure, a Swiss linguist and Peirce, a philosopher in the United States. Shapiro’s semiotic study examines the semiotic implications of the figure’s position, position and background in the artwork; Bauer emphasizes that the interpreter’s choice determines the meaning of the artwork; and Bryson discusses in depth the study of semiotic art In the process, the relationship between “context” and “text” is not only the impact of their research on the history of Western traditional art, but more importantly, the new vitality of Chinese contemporary art has also been infused.