本文選題：市場(chǎng)經(jīng)濟(jì) + 寫(xiě)實(shí)油畫(huà)市場(chǎng)　； 參考：《陜西師范大學(xué)》2014年碩士論文

【摘要】：寫(xiě)實(shí)油畫(huà)作為西方傳統(tǒng)繪畫(huà)的重要組成部分,在我國(guó)僅有百年的發(fā)展歷史,相較于歷史悠久的中國(guó)書(shū)畫(huà)而言,在國(guó)內(nèi)的藝術(shù)市場(chǎng)之中缺乏足夠的競(jìng)爭(zhēng)力。寫(xiě)實(shí)油畫(huà)與我國(guó)市場(chǎng)經(jīng)濟(jì)的結(jié)合,最早可以追溯到20世紀(jì)80年代,晚于已經(jīng)形成一定規(guī)模的香港、澳門(mén)、臺(tái)灣地區(qū)的油畫(huà)市場(chǎng)。由于早期國(guó)內(nèi)市場(chǎng)經(jīng)濟(jì)發(fā)展薄弱、社會(huì)公眾對(duì)寫(xiě)實(shí)油畫(huà)缺乏足夠的認(rèn)知和關(guān)注,致使寫(xiě)實(shí)油畫(huà)在國(guó)內(nèi)早期的藝術(shù)市場(chǎng)之中一直是最低迷、最缺乏活力的一個(gè)板塊。 中國(guó)和西方的寫(xiě)實(shí)油畫(huà)藝術(shù),不論是藝術(shù)創(chuàng)作方面,還是市場(chǎng)發(fā)展方面都存在著巨大“時(shí)間差”,當(dāng)前已經(jīng)逐漸被西方邊緣化的寫(xiě)實(shí)油畫(huà),在我國(guó)的藝術(shù)市場(chǎng)中卻展現(xiàn)出蓬勃的發(fā)展生機(jī)。國(guó)內(nèi)的寫(xiě)實(shí)油畫(huà)市場(chǎng)雖然自1991才正式起步,但經(jīng)過(guò)二十多年的發(fā)展已經(jīng)取得了蔚為壯觀的成績(jī)。進(jìn)入21世紀(jì),在國(guó)內(nèi)物質(zhì)極大繁榮與人民精神需求不斷上升的大時(shí)代背景之下,具有精神愉悅功能的寫(xiě)實(shí)油畫(huà)開(kāi)始被更多的人了解和接受。迅速崛起的一大批優(yōu)秀寫(xiě)實(shí)油畫(huà)家,也為當(dāng)代寫(xiě)實(shí)油畫(huà)市場(chǎng)的繁榮發(fā)展做出了非常重要的貢獻(xiàn)。在跌宕起伏的市場(chǎng)經(jīng)濟(jì)之中,寫(xiě)實(shí)油畫(huà)憑借不斷刷新的拍賣(mài)紀(jì)錄和穩(wěn)中有升的市場(chǎng)行情,吸引了各市場(chǎng)參與者的關(guān)注,預(yù)示著寫(xiě)實(shí)油畫(huà)已經(jīng)成為我國(guó)藝術(shù)品市場(chǎng)之中最為穩(wěn)健的中堅(jiān)力量,并發(fā)揮著越來(lái)越重要的作用。 在當(dāng)代市場(chǎng)經(jīng)濟(jì)背景下,“文不言商,士不理財(cái)”的時(shí)代已經(jīng)過(guò)去,市場(chǎng)已經(jīng)成為我國(guó)當(dāng)代寫(xiě)實(shí)油畫(huà)家必須面對(duì)的問(wèn)題,然而藝術(shù)家在市場(chǎng)中迷失自我、商業(yè)化導(dǎo)致了藝術(shù)作品水準(zhǔn)的降低、不規(guī)范經(jīng)營(yíng)導(dǎo)致了市場(chǎng)的混亂以及繁榮假象等問(wèn)題,已經(jīng)嚴(yán)重地阻礙了我國(guó)寫(xiě)實(shí)油畫(huà)的市場(chǎng)化進(jìn)程。寫(xiě)實(shí)油畫(huà)要在國(guó)內(nèi)獲得長(zhǎng)久而健康的發(fā)展,市場(chǎng)參與者就必須對(duì)當(dāng)前的中國(guó)寫(xiě)實(shí)油畫(huà)市場(chǎng)有一個(gè)冷靜而理智的認(rèn)識(shí)。由此,如何認(rèn)清寫(xiě)實(shí)油畫(huà)的市場(chǎng)形勢(shì),了解市場(chǎng)弊端,更好的指導(dǎo)藝術(shù)家的自身創(chuàng)作就成了一個(gè)值得思考的問(wèn)題。本文以1991年國(guó)內(nèi)寫(xiě)實(shí)油畫(huà)市場(chǎng)的起步作為研究起點(diǎn),以國(guó)內(nèi)主要拍賣(mài)公司的拍賣(mài)數(shù)據(jù)作為研究樣本,將寫(xiě)實(shí)油畫(huà)市場(chǎng)中的四大組成部分(藝術(shù)家、寫(xiě)實(shí)油畫(huà)作品、銷(xiāo)售中介、消費(fèi)者)作為基本的研究單位,針對(duì)目前市場(chǎng)中存在的藝術(shù)家心態(tài)浮躁問(wèn)題,銷(xiāo)售者誠(chéng)信缺失問(wèn)題以及消費(fèi)者盲目跟風(fēng)等問(wèn)題進(jìn)行重點(diǎn)分析,并將寫(xiě)實(shí)油畫(huà)與其它藝術(shù)門(mén)類(lèi)的市場(chǎng)狀況進(jìn)行交叉對(duì)比分析,試圖進(jìn)一步探究我國(guó)寫(xiě)實(shí)油畫(huà)市場(chǎng)當(dāng)前的發(fā)展現(xiàn)狀,明晰寫(xiě)實(shí)油畫(huà)作品在國(guó)內(nèi)藝術(shù)市場(chǎng)中得以迅速發(fā)展的優(yōu)勢(shì)以及存在的問(wèn)題,提出切實(shí)可行的應(yīng)對(duì)措施并對(duì)未來(lái)予以展望,這對(duì)于推動(dòng)中國(guó)寫(xiě)實(shí)油畫(huà)市場(chǎng)的健康、快速、持久發(fā)展具有理論與現(xiàn)實(shí)的雙重意義。
[Abstract]:Realistic oil painting, as an important part of western traditional painting, has a history of only one hundred years in China. Compared with Chinese calligraphy and painting with a long history, realistic oil painting lacks sufficient competitiveness in the domestic art market. The combination of realistic oil painting and market economy of our country can be traced back to the 1980s, later than the oil painting market of Hong Kong, Macao and Taiwan, which has already formed a certain scale. Because of the weak development of the early domestic market economy and the lack of sufficient cognition and attention of the public to realistic oil painting, realistic oil painting has always been the most depressed and the most lack of vitality in the domestic early art market. The realistic oil painting art in China and the West, whether in artistic creation or in the development of the market, has a huge "time difference", and has been gradually marginalized by the Western realistic oil painting. In our country's art market, however, it shows the vigorous development vitality. Although the domestic realistic oil painting market has only officially started since 1991, it has made spectacular achievements after more than 20 years of development. In the 21st century, under the background of the great prosperity of domestic material and the rising spiritual demand of the people, realistic oil painting with the function of spiritual pleasure began to be understood and accepted by more and more people. The rapid rise of a large number of excellent realistic oil painters, but also for the prosperity of the contemporary realistic oil painting market has made a very important contribution. In the ups and downs of the market economy, realistic oil paintings have attracted the attention of all market participants by constantly refreshing auction records and steadily rising market prices. It indicates that realistic oil painting has become the most stable backbone in the art market of our country, and plays a more and more important role. Under the background of the contemporary market economy, the era of "no business, no business, no money" has passed, and the market has become a problem that the contemporary oil painters of our country must face. However, the artists lose themselves in the market. Commercialization has led to the decline of the standard of art works, non-standard management has led to the confusion of the market and prosperity of the false image, has seriously hindered the marketization process of realistic oil painting in China. In order to obtain a long and healthy development of realistic oil painting in China, market participants must have a calm and rational understanding of the current realistic oil painting market in China. Therefore, how to recognize the market situation of realistic oil painting, understand the market drawbacks, better guide the artist's own creation has become a problem worth thinking. This paper takes the starting point of domestic realistic oil painting market in 1991 as the research starting point and the auction data of the main auction companies in China as the research sample. The four major components of the realistic oil painting market (artists, realistic oil paintings, sales agents) are taken as the research samples. Consumer) as a basic research unit, focusing on the current market in the artist mentality impetuous problem, the lack of integrity of the seller and consumers blindly follow the trend and other issues to focus on analysis, The market situation of realistic oil painting and other art categories is compared and analyzed in order to further explore the current development situation of realistic oil painting market in China. Make clear the advantages and problems of the rapid development of realistic oil paintings in the domestic art market, and put forward practical countermeasures and prospects for the future, which will promote the healthy and rapid development of the realistic oil painting market in China. The sustainable development has the double meaning of theory and reality.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J213-29

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