【摘要】：城市雕塑作為構(gòu)成城市公共環(huán)境的一部分,它不僅美化了城市公共環(huán)境,而且還陶冶了人們的情操,給予了人們美的享受。城市雕塑是城市歷史底蘊(yùn)、精神風(fēng)貌、民族精神和文化以及歷史傳承的直觀表達(dá),既承載了藝術(shù)家對(duì)于生活的向往和追求,又通過(guò)藝術(shù)加工的形式給與人們更直觀的視覺(jué)感受和精神上的共鳴和震撼。因而,它逐漸在人們心中占據(jù)一席之地。隨著第二次世界大戰(zhàn)結(jié)束后,國(guó)際環(huán)境相對(duì)趨于和平,社會(huì)經(jīng)濟(jì)得到了空前的發(fā)展。在經(jīng)濟(jì)全球化的驅(qū)動(dòng)下,中西方交流日漸深入,當(dāng)代西方的藝術(shù)理念和雕塑綜合材料紛紛被引進(jìn)國(guó)內(nèi),從而為城市雕塑的發(fā)展提供了新的契機(jī)。上世紀(jì)80年代末90年代初期,“綜合材料雕塑”這一個(gè)概念和運(yùn)用已經(jīng)逐漸在我國(guó)雕塑藝術(shù)中占據(jù)重要地位。20世紀(jì)90年代初期我國(guó)已經(jīng)開(kāi)始由政府機(jī)構(gòu)籌備舉辦城市雕塑創(chuàng)作營(yíng)活動(dòng),至21世紀(jì)初期,我國(guó)雕塑創(chuàng)作營(yíng)呈現(xiàn)雨后春筍之態(tài)勢(shì)。城市雕塑創(chuàng)作營(yíng)的蓬勃發(fā)展不僅為優(yōu)秀雕塑作品的誕生提供了契機(jī),也為城市公共環(huán)境的改善做出了貢獻(xiàn),快速而卓有成效的提升了當(dāng)?shù)厣鐓^(qū)文化藝術(shù)品位,同時(shí)帶來(lái)的還有經(jīng)濟(jì)效益的帶動(dòng)和提升。雖然城市雕塑創(chuàng)作營(yíng)活動(dòng)作為一項(xiàng)開(kāi)放性的文化藝術(shù)活動(dòng),它不僅在普羅大眾中宣傳普及了雕塑藝術(shù),同時(shí)也為藝術(shù)家們提供了良好的創(chuàng)作平臺(tái)和機(jī)遇。本文通過(guò)對(duì)當(dāng)代城市雕塑綜合材料與雕塑創(chuàng)作營(yíng)在我國(guó)的發(fā)展進(jìn)行了探討與分析,解析當(dāng)代城市雕塑綜合材料在我國(guó)城市雕塑中的運(yùn)用與拓展,解讀我國(guó)城市雕塑創(chuàng)作營(yíng)活動(dòng)中存在的問(wèn)題,例如跟風(fēng)舉辦,本末倒置只求作品數(shù)量,忽略城市雕塑作為本地歷史文化和精神風(fēng)貌的載體的作用等等。通過(guò)對(duì)這些問(wèn)題的分析,進(jìn)一步探索問(wèn)題的根源所在,從而提出城市雕塑只有向民族化發(fā)展才有出路,只有結(jié)合本民族特點(diǎn)城市雕塑創(chuàng)作營(yíng)和綜合材料運(yùn)用與表達(dá)才能走的更遠(yuǎn)更高。
[Abstract]:As a part of the urban public environment, urban sculpture not only beautifies the urban public environment, but also nurtures people's sentiment and gives people the enjoyment of beauty. Urban sculpture is an intuitive expression of urban history, spiritual style, national spirit and culture, as well as historical inheritance, which not only bears the artist's yearning and pursuit for life, And through the form of art processing to people more intuitive visual feelings and spiritual resonance and shock. As a result, it gradually occupies a place in the hearts of people. With the end of World War II, the international environment tends to be relatively peaceful, socio-economic development has been unprecedented. Driven by economic globalization, the communication between China and the West is getting deeper and deeper, and the contemporary western art ideas and sculpture comprehensive materials have been introduced into China one after another, thus providing a new opportunity for the development of urban sculpture. In the late 1980s and early 1990s, The concept and application of "Comprehensive material Sculpture" has gradually occupied an important position in the art of sculpture in our country. In the early 1990s, the government began to organize the activities of urban sculpture creation camp by government agencies, and by the beginning of the 21st century, The sculpture creation camp in our country has sprung up. The vigorous development of the urban sculpture creation camp not only provides an opportunity for the birth of outstanding sculpture works, but also contributes to the improvement of the urban public environment, and rapidly and effectively promotes the cultural and artistic taste of the local community. At the same time, it also brings about the drive and promotion of economic benefits. Although the city sculpture creation camp is an open cultural and artistic activity, it not only propagandizes and popularizes sculpture art among the general public, but also provides a good platform and opportunity for artists to create. This paper discusses and analyzes the development of contemporary urban sculpture comprehensive materials and sculpture creation camp in China, and analyzes the application and expansion of contemporary urban sculpture comprehensive materials in China's urban sculpture. This paper interprets the problems existing in the activities of urban sculpture creation camp in China, such as following the trend, putting the cart before the horse, and neglecting the role of urban sculpture as the carrier of local history, culture and spirit, and so on. Through the analysis of these problems, the author further explores the root causes of the problems, and puts forward that only the development of urban sculpture to nationalization can there be a way out. Only combining the national characteristics of urban sculpture creation camp and the use and expression of comprehensive materials can we go further and higher.
【學(xué)位授予單位】：湖北美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類號(hào)】：J313.2

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本文編號(hào)：2437303