透過繪畫看剛果民主共和國的文化與身份認(rèn)同：穿越殖民時(shí)代直到今天

1、分類號：_____________________ 密級 ：_____________________ U D C：_____________________ 編號 ：_____________________ 中 國 美 術(shù) 學(xué) 院 博 士 學(xué) 位 論 文 透過繪畫看剛果民主共和國的 透過繪畫看剛果民主共和國的文化與身份認(rèn)同： 文化與身份認(rèn)同： 穿

2、越殖民時(shí)代直到今天 穿越殖民時(shí)代直到今天 The Perception of Culture and Identity in the Paintings of the DR Congo from Colonial Times to Today 卡拉馬 卡拉馬 Henri Kalama Akulez 指導(dǎo)教師姓名（職務(wù)、職稱） 司徒立 教授 楊參軍 教授 授

3、 翁誕憲 教授 章曉明 教授 授 申請學(xué)位級別 博士 專業(yè)名稱 美術(shù)學(xué) 學(xué) 論文提交日期 2014 年 5 月 13 日 論文答辯日期 20

4、14 年 5 月 30 日 日 學(xué)位授予單位和日期__________________________________________________ 答辯委員會(huì)主席 評閱人______________________________

5、 2014 年 5 月 13 日 中國美術(shù)學(xué)院—油畫系—卡拉馬 Henri Kalama Akulez —2014—透過繪畫看剛果民主共和國的文化與身份認(rèn)同：穿越殖民時(shí)代直到今天 3 Abstract Abstract The art in sub-Saharan Africa in general and in

6、the Democratic Republic of Congo in particular remains to this day strongly influenced by considerations of identity in the ethnic sense. The concepts of “African culture“ and “African identity“ are recurring in the Afri

7、can art world. The paintings of Congo; which are object of this study, are no exception. Under the title “The Perception of Culture and Identity in the Paintings of the DR Congo from Colonial Times to Today”, it is shown

8、 how the paintings in the DR Congo, have been impregnated with the idea of expressing culture and identity from its inception. Frequently confused, the two concepts are perceived by artists as static and timeless entitie

9、s - similar to a kind of second nature and a given that one inherits and which marks the individual permanently and that cannot be escaped - a bit like the roots that define the individual definitely and authentically. A

10、frican artists and Congolese painters in particular believe to be required to express their “culture“ or “identity“, understood as Africanness, and the search of this Africanness, if they believe to have lost it. The ina

11、lienable desire to always account and wanting at any cost to express and recognize themselves in the “culture“ and “identity“ amalgamated in being and not in becoming, has led over the years to a stereotypical “art“, whi

12、ch came out of a “mold of African art“. This “African art” is consisting of the elements of an “African painting”, such as African masks, statues, African writing, and the appropriation of all human achievements deemed p

13、rimitive, no matter if they are European, American or Pacific. This approach to art is the result of the internalization through the propagation of generations, different perceptions, conceptions and concerns about ident

14、ity, which have prevailed in the pictorial universe of the DRC. It started with the colonizers, passed through the political reign of Mobutu (1965-1997), former president of the Congo called Zaire at the time, where it w

15、as singled out by the ideology of the recourse to authenticity, and prevails until today, with what we call 'the time of magicians', a trivial expression that has its origins in the exhibition “Magicien de la Ter

16、re“, initiated by the French state in 1989. This vision of art as the exclusive carrier of ethnic identity is a mental prison for artists of African origin. It prevents the realization of the real purpose and destiny of

17、art, which is the emergence of true works, whose purpose is the ultimate manifestation of the ontological truth of art. . Key Words : “Perception“, “African Art“, “African Culture“, “African Identity“, “Negritude“, “Use