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簡介：華中師范大學碩士學位論文中國當代繪畫創(chuàng)作研究（19901999）姓名蘇玲申請學位級別碩士專業(yè)美術(shù)學指導教師肖豐201204ABSTRACTDURINGTHENINETYCURRENTDEVELOPMENTOFCHINESECONTEMPOM巧PAINTING，THECHINESEANISTS，ESPECIALLYYO帥GANISTSDRA、VSHEAVILYONCONCEPTS卸DL鋤GUAGEOFMODEMWESTEMARTINTHEMODEMWESTEMANISTICCONCEP惦ANDL鯽G_UAGEBYGRARINGWITHMODIFICATIONSAPPROACHAPPLIEDT0ANISTICCREATIONANDINTEGRATION0FLOCALELEMENTSSYMBOL，WHILETHEUSEOFSUCHPRACTICES，THEFORMATIONOFDIVERSIFICATIONOFSTYLES，THECONCEPTOFLOCALIZATION，THEARTMARKETOFNEWPANEMINMENEWPATTEM，HOWDOWEESTABLISHTHEVALUEOFCHINESECONTEMPORA巧ARTATTHESAMETIMELEAM向DMTHEWBSTSECOND，THECONTEMPOM巧PAINTINGSSPECULATIONONSOCIALPROBLEMS卸DTHEIRO、VNCONCEMS鋤DTEEXAMINEAWIDEMNGEOFCONTEMPOM叫PAINTINGDISCOURSERESOURCESWEAREFACEDWITILAWIDEMNGEOFDISCOURSERESOURCESANDHOWT0CREATEAGOODCHINESE唧LEDISCOU體ESYSTEMALLOFTHESEARCWORTHPONDERING1NADDITION，INTHECONTEXTOFWESTEMMODEMARTCONCEPT肌DTHECHINESELOCALIZATIONOFLANGUAGE粕DCONCE吣AREMIXEDOFAN，THECHINESECONTEMPO刪YPAINTINGINTHEL990SINTHECREATIONOFWESTEMMODEMAITCONCEPTS觚DL鋤G啦喀EPANEMS卸DINTEGRATIONOFTHEELEMENTSOFCHINESELOCALIZATIONCH撒CTERISTICSTHEMODIFICATIONS繃DINTEGRATIONCREATEAVISUALIMAGE卸DHAVEANEW神STHETICVALUE鯽DSIGNIFIC卸CEFINALLYDURINGTHEBACKGROUNDOFECONOMIC鰣OBALIZATION，THEARTMARKET，T0FACETHECHOICEOFTHEMARKET鋤DTHEWEST，THEINTEMATIONALARTSYSTEM，CONTEMPORA叮PAINTINGWILLINEVITABLYBEUTILITARIANTENDENCIESANDDEPENDENCYPHENOMENON，HOWSHOUIDWEF配EANDSOLVE，THISISAQUESTIONWONHCONSIDERING1’HISPAPERISDIVIDEDINT0FOURPARTSTHEFIRSTCHAPTERDEFINESTHENINETIESCHINESEC0NTEMPORA叮PAINTINGCONC印TSOFACADEMICTHESECONDPARTMAKESACOMB卸DANALYSISOFTHEL990SPAINTINGPROCESSTHETHIRDPARTTHROU曲THECREATIONOFTHOUGHTANDMAINSN℃AMS哆LES撲ALYZEDTHECONCEPTOFT聊1SPLANTATION卸DL硼GUAGEICONOFTHENINETIESCONTEMPOM叫PAINTINGPMCTICETHEL硒TPARTISIMPORTANTT0陀FLECTONTHEISSUESPRESENTEDBYCONTEMPORA拶PAINTINGPMCESSINTHEL990SINTHISPAPER’FORTHE行ELDOFCONTEMPO刪哆PAINTINGSBEME饑L990鋤DL999，SOMEIMPON蜀MTANEVENTSINTHEDEVELOPMENTPROCESS肌DSONOUTTHECREATIVETHOUGHT鋤DEMPIRICAL鋤ALYSIS，SUMMEDUPTHE鋤ALYSIS行0MTHEPERSPECTIVEOFTHEARTISTSFIRST，THECONTEMPO仡拶CHINESEPAINTINGINTHEL990SWITHTHECHARACTERISTICSOFTHEDRAWINTHECREATIONOFMODEMWESTEMARTCONCEPTSANDLANGUAGEPATTEMSWHILEINCORPORATINGELEMENTSOFTHECHINESELOCALIZATIONTHEMODIFICATIONSANDINTEG豫TIONCREATEAVISUALIMAGEANDHAVEANEWAESTHETICVALUEANDSIGNIFICANCESECOND，INTHEECONOMICGIOBALCONTEXTFACETHEANMARKET鋤DTHECHOICEOFTHEWESTEMCONTEMPORA巧

簡介：索取號皿L』壘；Q密級一鹽玨一一南京坪勉大掌碩士學位論文固拐杖和繩索一一關(guān)于繪麗中圖式運用的研究作者院系指導教師學科專業(yè)伏濤美術(shù)學院盛梅冰副教授美術(shù)學ABSTRACT‘‘SCHCRNA“THATINCHINESETRADITIONALARTWHATTOPOINTISAREADYMADESHAPEMOLDORIGINALLYTHEMEANINGOF“SCHEMA”THATINWESTERNGLOSSARYISWIDERTHANTHATINCHINESE“THEPAINTINGSCHEMA”ISAFIRSTFOUNDATIONOFTHEPAINTING，ANDAGRAVITATION，AOPENSYSTEMTHE“WALKINGSTICK”O(jiān)R“ROPES’INMYARTICLEISNOT“SCHEMA”SIMPLYITISNOTAWALKING嘶CKORAROPEINDEED，BUTITWILLBECOMETHEWALKINGSTICKORTHEROPENOTONLYTOTHEPAINTERBUTALSOTOCONTEMPORARYPAINTINGBECAUSEOFTHEDIFFERENTUSAGETHEMEANINGANDVALUEOFSCHEMASTILLCARRYOUTTHEKEYATONEPAINTERTHEPAINTINGSCHEMAACCUMULATEDINTHECULTURALHERITAGECANDOAPROMOTIVEFUNCTIONTOTHECREATIONOFTHEPAINTERTODAYBUTSOMETIMESBECOMETHEROPETHATROUNDSTHEIR“NECK”O(jiān)WINGTOTHEMSELVESALTHOUGHTHEARTHISTORYISABUNDANTCONTINUOUSLYATTHEARTFORM，NOTAHISTORYWHENGOODARTREPLACINGWRONGART，MORBIDSENSEOFVISIONMAKEAPERSONCANNOTTAKEALOOKATTHESOUNDPOINTEQUALLYTHEMORBIDSCIENCEVIEWMAKESANARTISTSHORTSIGHTEDTHEREFORE，ITISIMPORTANTANDMEANINGFULFORCONTEMPORARYPAINTINGTOFINDAGOODMETHODCONCERNINGCOGNITIONANDUSEOFTHEBYPASTSCHEMATHEINVESTIGATIONISTHECENTEROFTHISTEXTTHISARTICLESELECTTHETOPICINOFDERTOSTUDYTHEINFLUENCEOFTHEPAINTINGSCHEMAEXISTEDPLAYINGONTHEPAINTERSARTACTIVITYINHISPAINTINGCAREERTHOUGHTHEANALYSISTOSOMEPROBLEMSCONCERNINGPAINTINGANDSCHEMATHENINQUIREHOWTHEPAINTERPARTICULARLYFORTHECONTEMPORARYPAINTERTREATANDMAKEUSEOFTHEFOREPUSSEDSCHEMAFROMTHEANGLEOFTHEDEVELOPMENTOFARTONEPAINTERHASACERTAINSCHEMABACKGROUNDBECAUSEOFTHECHARACTERISTICOFHISAGE，HISCAREERANDPERSONALINTERESTTHENEWPROGRESSIVESCHEMASHOULDBECREATEDTHIMLGHMAKINGUSEOFTHEEXISTINGSCHEMACREATIVELYANDAVAILABLYBYARTISTTHISISTHETRUEMEANINGOFTHEARTANDTHEIMPORTANCEOFTHECULTURALHERITAGEABOUTTHEUSEMETHODSANDSELECTMETHODS，PAINTERSHAVEDIFFERENTCHOICESTOTHEEXISTINGSCHEMATHECHOICEISHISENTRANCETOPAINTING1FAPAINTERASSIMILATETHEBENEFICIALAFFECTIONFROMHISSCHEMABACKGROUNDINHERITANDDEVELOPITCREATIVELYITWOULDBECOMETHE“WALKINGSTICK’THATMAKEFOREXPANDINGHISWAY；WHEREASHANDLEITSKINDEEPLYLOOTGRUFFLYORPUTTOGETHERITSPARTSSUPERFICIALLYTHISMEANSSHOULDBE“THEROPEENWINDINGHISNECK“’ANDMIGHTTERMINATEHISARTFOREGROUNDTHERESEARCHOFTHISTOPICHASCERTAINREALISTICMEANINGTOTHECONTEMPORARYPAINTINGANDTHEPAINTERSTODAYKEYWORDSCLLEMACOPYCREATECONTEMPORARYPAINTINGⅡ

簡介：930S56索取號；QIL21L密紐；二』L一南京師勉犬掌碩士學位論文園黃山圖經(jīng)對雪莊繪畫的影響作者院系指導教師學科專業(yè)、蔣J占酵美術(shù)≥I冼|辣傳J竹教授～J?！玙J美術(shù)’二，；、，。ABSTRACTITWASNOTUNTILTHE39YEAROFTHEEMPERORWANGLIREIGNOFTHEMINGDYNASTY161】THATBIGGERTEMPLEANDFOURROUGHROADSLEADINGTOTHEDEPTHOFTHEHUANGSHANMOUNTAINBEGANTOAPPEARTHOUGHTHEROADSWEREDESTROYEDANDBUILTREPEATEDLYDURINGTHEEMPERORKANGXI’SREIGNOFTHEQINGDYNASTY16621722，DENGDAO，YUNGU，ANDYUFANGNEARTHEEASTERNGATEWEREDEVELOPEDACTUALLYTRAVELERSHADTODINTHERISKOFBEINGATTACKEDBYTIGERORLEOPARDWHENTHEYTOUREDINTHEMOUNTAINSUNTILTHEKANGXI’SREIGNHUANGSHANMOUNTAINPICTURE，ONEOFTHEEARLIESTPICTURESDEPICTINGTHEMOUNTAIN，WASPRINTEDFOURTIMESRESPECTIVELYINTHESONGDYNASTYANDTHEMINGDYNASTYTHEPRESENTPAPEREXAMINEDTHEFOUREDITIONSANDCONCLUDEDTHATTHEAUTHOROFTHE‘‘PICTURE”，WHICHISLEFTUNTILNOWWASHONGSHUNMIN，ANARTISTATTHEBEGINNINGOFTHEMINGDYNASTYMOREOVERTHEPAPERPOINTSOUTTHATHUANGSHANMOUNTAINPICTUREPATTEMEVOLVEDONHISBASISINAWORD，‘‘TODEPICTTHEREALSCENERYWITHTOUCHESOFTHEYUANDYNASTY’ARTISTS’’ATTHEBEGINNINGOFTHEQINGDYNASTYINFLUENCEDBYTEXTUALISM，THEHUANGSHANMOUNTAINPICTURESDEVELOPEDINTOHUANGSHANMOUNTAINILLUSTRATION“PICTURE’’TURNINTO“ILLUSTRATION”ASAPARTOFTHEHUANGSHANRECORD“CONTINUATIONOFHUANGSHANRECORD”“TENOROFHUANGSHANMOUNTAINTRAVEL’’ALLADOPTEDTHEHUANGSHANMOUNTAINILLUSTRATIONBYAMONKARTISTXUEZHUANGOFHUANGSHANMOUNTAINTHEPAPERATTEMPTSTOEXPLORETHEBIRTHANDDEATHASWELLHISRELATIONSASMUCHASPOSSIBLEASHORTBIOGRAPHYISASFOLLOWSXUEZHUANGWASBORNINCHUZHOUPRESENTHUAIANINTHE9YEAROFTHEEMPERORSHUNZHIREIGNOFTHEQINGDYNASTY1652INTHE18“‘YEAROFTHEEMPERORKANGXIOFTHEQINGDYNASTY，HEBECAMEAMONKTRYINGTOAVOIDAMISFORTUNEINTHE28”’YEAROFEMPERORKANGXI1689，HESTATIONEDINTHEHUANGSHANMOUNTAINANDTHENDIEDABOUTTHETURNOFEMPERORKANGXIANDEMPERORYONGZHENGTHEPAPERALSODESCRIBESXUEZHUANG’SLIFEAFTERHECAMETOTHEHUANGSHANMOUNTAINAFTERTHE28“‘YEAROFEMPERORKANGXIHUIZHOUREGION，INWHICHHUANGSHANMOUNTAINISLOCATED，SHOWSGREATRESPECTFORINTEGRITYXUEZHUANGWASSUMMONEDTOTHECOURTIN1694BUTSOONRETURNEDTOHUANGSHANMOUNTAINWITHONLY“ONESCOOPANDONECAP”HISLOFTINESSWASESTEEMEDBYLOCALOFFICIALSANDWEALTHYPEOPLETHEREFORE，AIDEDBYWANGSHIHONGANDWANGHUIOFTHEWANG’SFAMILYATEMPLEWASBUILTXUE’SLIFEWASIMPROVEDANDHISDRAWINGENTEREDINTOAPRIMETIMEXUEZHUANGLEARNEDANDINHERITEDFROMHUANGSHANMOUNTAINILLUSTRATIONINTWOWAYSEMPHASISONREALITYANDMETHODSOFLOOKINGUPANDLOOKINGDOWNTHEPRESENTPAPERRECOUNTSHOWXUEZHUANGLEARNEDXIEYIPORTRAYINGSKILLSOF‘。FOURGREATARTISTSOFTHEYUANDYNASTY”FROMHISMASTERDAYIAFTERHECAMETOTHEHUANGSHANMOUNTAINANDWASENTRUSTEDWITHTHETASKTODRAWTHEMOUNTAIN，“HEWASPRACTICINGHISSKILLSFOROVERAMONTHSANDMAKINGUPFORHISPRECEDENTSHORTCOMINGS”HEWASFOUNDACHANGEINHISSTYLE，WHICHTURNEDTOBEMOREANDMOREREALISTICTHEHUANGSHANMOUNTAINILLUSTRATIONHASALSOILLUSTRATEDGREATINFLUENCESONOTHERARTISTSATTHEBEGINNINGOFTHEQINGDYNASTYKEYWORDSDEVELOPMENTOFHUANGSHANMOUNTAIN，HUANGSHANMOUNTAINILLUSTRATION，XUEZHUANG，HUANGSHANMOUNTAINPICTURE2

簡介：南京藝術(shù)學院碩士學位論文試論西方具象繪畫中的“夢幻”空間姓名程建申請學位級別碩士專業(yè)油畫藝術(shù)指導教師沈行工陳世寧20060501ABSTRACTTHEARTICLE，BEGININGFROMTHEVIEWOFTHESPACE，ELABORATESAPAINTINGSPACEOFFORMOFVISI013，ANDMADESANANALYSISTOTHESPACEINTHEFIGURALPAINTINGFROMTHEPERSON’SMENTALASPECT，ANDTHEN，LEADING”I1LUSION”INTHEFIGURALPAINTING．HROUGHCOMPARINGTHEFANTASYSPACEANDTHEREALITYSPACEINTHEFIGURALPAINTINGTOMAKESUREITSSPECIALARTCHARACTERISTICDIGTHEINTENSIONANDTHOUGHTSOURCEOFTHEI11USIONALSPACE．EXPLAINSHTGHUNITYOFSPIRITANDFORMTOASPACE．THEARTIC】EEMPHASIZESTHATTHEILLUSIONALPROGRESSTOTHESITUATIONINTHESPACEFORMINTHEFIGURALPAINTINGSPACEISAKINDOFDEVELOPMENTANDFIGURAIPAINTING，SHOWSADIVERSEKEYWORDSTHEILLUSIONALSPACEFORMAESTHETICFOUNDATIONSPIRITINTENSION

簡介：南京藝術(shù)學院博士學位論文論中國20世紀繪畫范式的轉(zhuǎn)變姓名靳衛(wèi)紅申請學位級別博士專業(yè)美術(shù)學（中國繪畫史）指導教師阮榮春20060530ABSTRACTTHE‘MAY4THMOVEMENT’ANDTHE‘NEWCULTUREMOVEMENT’MOLDEDANEWPARADIGMFORCHINESECULTUREBYUSINGWESTEMCULTURETOSAVECHINESECULTUREMODEMPAINTINGALSODEVELOPEDINCHINATHROUGHTHISPARADIGMTHISPARADIGMWOULDNORMALLY耐NGABOUTPROGRESSINMODEMPAINTINGHOWEVER100YEARSHAVEALREADYPASSEDANDCHINA’SMODEMARTHASSTIRREDUPALOTOFPROBLEMSTHUS，THEPARADIGMMUSTBECONTINUOUSLYQUERIEDINTHEPROCESSOFTHEMODERNIZATIONOFPAINTING，‘REALISM’APPEAREDONTHEARTISTICSTAGEINCHINA，SINCETHEMIDDLEOFTHE20“CENTURY，REALISMHASBEENANOVERWHELMINGTRENDINCHINESEPAINTING，BUTITHASN’TRESOLVEDTHEPROBLEMOFCHINESEPAINTINGONTHECONTRARYCHINESEPAINTINGHASTAKENOFFGMDUALLYBECAUSETHEWAYONELOOKSATTHEWORLDHASCHANGEDWITHTHEDEVELOPMENTOF“GLOBALIZATION’，THEPROBLEMOFNATIONALIDENTITYBEGANTOEMERGEININTERNATIONALCULTURALCOMMUNICATIONISSUESSUCHASWHATSHOULDBEPRESERVEDANDWHATSHOULDBEBLENDEDHAVEBECOMERIGOROUSPROBLEMSINTHEAGEOFGLOBALIZATIONHOWTOTHINKABOUTCULTURALIDENTITYANDTHEVALUEOFNATIONALISMWILLBETHEIMPORTANTTHINGINCULTURETHISPAPERDISCUSSESTHEINFLUENCEOF“MODERNITY’INPAINTINGCIRCLESINTHEMORETHAN100YEARSSINCETHEMAY4THMOVEMENTANDSTANDSONAHISTORICALPLATFORMWITHAKINDOFOUJECFIVEANDHISTORICALATTITUDETHISPAPERWIUBEHELPFULTOWARDSOBJECTIVELYUNDERSTANDINGCHINESEPAINTINGSINCETHE20MCENTURYTHROUGHPAYINGATTENTIONTOTHEHOWTHEPARADIGMCHANGESHASBEENREFLECTEDINPAIMINGANDTHROUGHRESEARCHINGINDEPTHTHEMEANINGSOFWHATLIESBETWEENTRADITIONALANDMODEMPROGRESSIVEANDBACKWARD，ETCKEYWORDPAINTING，PARADIGMSCHANGE，REALISM

簡介：分類號學校代碼密級學號淺談意象繪畫里的設(shè)計思維ONDESIGNEDTHOUGHTSOFIMAGEPAINTING研究生姓名羅甜甜指導教師姓名、職稱劉湘東副教授學科專業(yè)研究方向美術(shù)學水彩湖南師范大學學位評定委員會辦公室二零一三年五月下，設(shè)計的思維是意象繪畫的內(nèi)容與形式的直接表達。當設(shè)計思維融入意象繪畫中，更好的展現(xiàn)了“發(fā)散”的思維模式，讓感性上升為理性，形成第二次飛躍。關(guān)鍵詞意象、設(shè)計構(gòu)成、裝飾性、藝術(shù)創(chuàng)作

簡介：中國美術(shù)學院學位論文原刨性聲明本人鄭重聲明所提交的學位論文是本人在導師的指導下，獨立進行研究工作所取得的研究成果。除文中已經(jīng)加以標注引用的內(nèi)容外，本論文不包含其他個人或集體已經(jīng)發(fā)表或撰寫過的研究成果，也不含為獲得中國美術(shù)學院或其它教育機構(gòu)的學位證書而使用過的材料。對本文的研究作出重要貢獻的個人和集體，均已在文中以明確方式標明。本人承擔本聲明的法律責任。作者豁泖駕、癱隰≯I婢上月易日學位論文版權(quán)使用授權(quán)書本學位論文作者完全了解學校有關(guān)保留、使用學位論文的規(guī)定，同意學校保留并向國家有關(guān)部門或機構(gòu)送交論文的復(fù)印件和電子版，允許論文被查閱和借閱。本人授權(quán)中國美術(shù)學院可以將本學位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫進行檢索，可以采用影印、縮印或掃描等復(fù)制手段保存和匯編本學位論文。本學位論文屬于作者簽名1、保密口，在年解密后適用本授權(quán)書。2、不保密D請在以上相應(yīng)方框內(nèi)打“4”卵考蒲翩擗F5N、A日期矽哆年日期知辨3只駕ETR月才日摘要本文把關(guān)于塞尚繪畫藝術(shù)的討論分為三個部分，第一部分從塞尚對自然的熱愛出發(fā)了解塞尚特有的氣質(zhì)和性格，為更深入地分析他未來的繪畫之路找到一些相關(guān)的依據(jù)；第二部分，通過對塞尚成熟期作品的解析，了解塞尚區(qū)別于傳統(tǒng)的繪畫風格和手法；第三部分，重點分析塞尚晚期作品，更清析地理解塞尚繪畫藝術(shù)的獨特魅力。關(guān)鍵詞變化啟示暗示感性印象派ABSTRACTIONDISCUSSIONONTHEARTOFPAULCEZANNEISDIVIDEDINTOTHREEPARTSTHEFIRSTPARTOFSTARTINGTOUNDERSTANDCEZANNEUNIQUETEMPERAMENTANDPERSONALITYFROMCEZANNE’SLOVEOFNATURE，TOFINDSOMEOFTHEBASISFORAMOREINDEPTHANALYSISOFHISPAINTINGSOFTHEROAD；THESECONDPARTTHROUGHPARSINGOFC6ZANNE’SMATUREWORK，TOUNDERSTANDCEZANNEDIFFERENCEWITHTHETRADITIONALPAINTINGSTYLEANDTECHNIQUE；THETHIRDPART，THEFOCUSOFANALYSISCEZANNELATEWORKS，MOREEXPLICITUNDERSTANDTHEUNIQUECHARMOFTHECEZANNEPAINTINGARTKEYWORDSCHANGESREVELATIONIMPLIESSENTIENCYIMPRESSIONIST

簡介：論文題目淺析“寫生”對黃君璧繪畫創(chuàng)作的影響學科專業(yè)藝術(shù)學學位申請人江彥嘉指導教師邵琦摘要“寫生“是所有二十世紀畫家都繞不開的話題，每位畫家對此都應(yīng)有自己的回答。黃君璧1898一1991，幾乎接近走完了中國畫史上不同尋常的百年。他既有傳統(tǒng)繪畫修養(yǎng)，又接受過新式教育，是一個與時代難以剝離的特殊個案。他在其山水畫中所做的嘗試，是對“寫生”這個話題的一種回答，更為當時及后世的畫家提供了新的借鑒。本文通過梳理古代畫論中“寫生”的本義和“對景作畫”的論述來厘清中國古代“寫生”的概念；其次通過梳理20世紀山水畫家對“寫生”的認識來分析“寫生”這一概念在20世紀發(fā)生的變化，以及這些變化對黃君璧“寫生”觀的影響；最后以黃君璧的創(chuàng)作出發(fā)，具體分析寫生對其作品的影響以及他的寫生觀在其作品中的體現(xiàn)。關(guān)鍵詞黃君璧寫生繪畫目錄刪刪㈣舢刪㈣洲刪Y2285102緒論1一、文獻綜述1二、選題意義6三、研究方法一6四、研究范圍7第一章中國畫論中關(guān)于“寫生1’’的論述9第一節(jié)古代畫論中的“寫生”9第二節(jié)古代畫論中“對景作畫”的論述12第二章二十世紀的“寫生觀”15第一節(jié)二十世紀各家對“寫生”的認識與態(tài)度15第二節(jié)黃君壁對“寫生”的認識與態(tài)度22第三章寫生對黃君璧繪畫藝術(shù)的影響26第一節(jié)題材的拓展26第二節(jié)構(gòu)圖的變化一34第三節(jié)筆墨形式的創(chuàng)新39縫F語一51致謝53參考文獻54圖注一56攻讀學位期間取得的研究成果59論文獨創(chuàng)性聲明60論文使用授權(quán)聲明“O

簡介：分類號UDC搿級公學位論文題目繪畫過程的現(xiàn)象學探索與研究研究生姓名學科專業(yè)名稱研究方向論文類型申請學位指導教師姓名指導教師職稱指導教師單位論文提交日期論文答辯日期田沛明設(shè)計藝術(shù)學表現(xiàn)技法研究研發(fā)論文文學碩士趙君超教授沈陽航空工業(yè)學院2009年12月30日2010年01月08日沈陽航空工業(yè)學院2010年01月原創(chuàng)性聲明本人鄭重聲明所呈交的學位論文是本人在導師的指導下獨立完成的。除文中已經(jīng)注明引用的內(nèi)容外，本論文不包含其他個人或集體已經(jīng)發(fā)表或撰寫過的作品或成果，也不包含本人為獲得其他學位而使用過的成果。對本文研究做出重要貢獻的個人或集體均已在論文中進行了說明并表示謝意。本聲明的法律后果由本人承擔。論文作者簽名、司沖訓∞F【，年／月F日

簡介：謹以此文敬獻給當代中國畫大師黃胄先生深切緬懷先生誕辰八十五周年SUBJECTYANHUANGNEWBORNBABYDESERTSINGERDANMASTERSPAINTINGINHUANGZHOUSPECALTYDESIGNARTSTUDYNAMENIEYANGXUNINSTRUCTORLIUYONGJIEPROFESSORENGLISHABSTRACTTHISPAPERHASDETAILEDPRECISEINFORMATIONONTHEWORKSOFALARGENUMBEROFVIVIDINTERPRETATIONOFTHETYPICALANALYSIS，MRHUANGZHOUDISCUSSESTHEARTOFTWISTSANDTURNSOFLIFEANDOUTSTANDINGACHIEVEMENTSINARTISTICCREATIONHAVETHETIMESFORTHEORDERDEMONSTRATEDHUANGZHOUARTANDSTYLESOFCHINESEPAINTINGANDHISINNOVATIVECONTRIBUTIONS，ASWELLASHISARTISTICIDEASANDINTHECONTEMPORARYARTKEYWORDSLIVINGCREATIVEARTISTICCONTRIBUTIONIMPACTU

簡介：四川美術(shù)學院碩士學位論文被迫的天才徐渭繪畫藝術(shù)研究姓名呂琦申請學位級別碩士專業(yè)美術(shù)學指導教師20040401ABSTRACTTHISTHESISCONSISTSOFFOURCHAPTERSWHICHRESPECTIVELYDISCUSSESTHERELATIONSBETWEENXUWEI’SPAINTINGHISINDIVIDUALSPIRITTHEINFLUENCEOFHISINDIVIDUALSPIRITPRESENTINHISPAINTINGTHEFIRSTTHESECONDCHAPTERSGIVEANACCOUNTOFTHEIMPTANTEXPERIENCEOFXUWEI’SLIFEAIMINGATTHOUGHLYANALYZINGXUWEI’SCOMPLICATEDPERSONALITYTHEDEVELOPMENTOFHISINDIVIDUALSPIRITTHEFIRSTCHAPTERISCOMPOSEDOFTWOPARTS1THEMISFTUNESOCCURRINGINHISFAMILYSINCEHISBIRTHHISUNUSUALTALENTDISPLAYEDINTHEEARLYPARTOFHISLIFE2HIGHPRAISEGIVENBYPEOPLEFHISTALENTALSOTHEGLOOMYLIFECAUSEDBYHISTALENTTHESECONDCHAPTERTELLSABOUTTHEMAJCONTRADICTIONAPPEARINGINHISLIFEWHENXUWEIFOUNDAPOSITIONINTHEGOVERNGENERALOFFICEINMINGDYNASTYHESETHISSIGHTSHIGHHOPEDTHATHISTALENTCOULDBEGIVENFULLPLAYHOWEVERHISPERSISTENCEINHISPUREMANNERSRESISTANCEAGAINSTTHEREALITYCONTRIBUTEDTOTHEFRUSTRATIONINTHEIMPERIALEXAMINATIONHALLTHETHIRDCHAPTERPROCEEDSTOINTEGRATETHEANALYSISOFXUWEI’SPERSONALITYHISATTITUDETOWARDSLIFEWITHHISCONCRETEPAINTINGSSTUDYINGHISARTISTICCREATIONTHERESULTSARELISTEDASFOLLOWSTHEPAINTINGOFXUWEICOULDBECLASSIFIEDINTOTHREEARTISTICSTYLES1SUDDENEXPLOSIONOFINTERNALEMOTIONSFEATURINGBOLDFLOWINGPAINTINGMODE2AESTHETICSTYLEFEATURINGMATURECLEARMODE3MODERATESTYLEACTERIZEDBYOCCASIONALBOLDFLOWINGMODEBUTNOTTYPICALTHEFOURTHCHAPTERISMAINLYABOUTTHEJUDGECOMMENTSONXUWEI’SPAINTINGTHREECOMPONENTSARECARRIEDON1XUWEITHOUGHTHISPAINTINGRANKING“FOURTH”TOHISCALLIGRAPHYPOEMARTICLE2LATERGENERATIONSGAVEANOPPOSITECOMMENTSTHATHISPAINTINGRANKEDFIRSTTOHISCALLIGRAPHYPOEMARTICLE3ANALYSISISCONDUCTEDONTHEREASONOFTHISCONTRADICTIONTOREVEALDIFFERENTVALUESTARDSBEHINDTHISCONTRADICTIONTHATISTHESTARDOFARTISTTHESTARDFARTISTICSPIRITTHENTOFURTHERPROVETHATIFXUWEIWERENOTSOFRIVOLOUSSTAYEDCALMHECOULDHAVESCEDACHIEVEMENTSOFAGENUINEPAINTERBUTONTHECONTRARYLEFTNOINFLUENCEONSPIRITOFARTINHISTYATTHESAMETIMETHEMICROSCHOLARLYRESEARCHTHIS

簡介：扉頁論文題目元代繪畫“逸“的維度研究作者郭亞楠申請學位類別和級別碩士學位學科專業(yè)美術(shù)學學位授予單位浙江師范大學指導教師張禾教授論文提交日期2010年4月THESISTITLETHEDIMENSIONALINVESTIGATIONOF“YI’’INYUANDYNASTYAUTHORGUOYANANTHETYPEANDLEVELOFGRADUATIONTOAPPLYFORMASTERDEGREEMAJORFINEARTDEGREE’GRANTINGINSTITUTIONZHEJIANGNORMALUNIVERSITYTUTORZHANGHEDATEOFTHESISSUBMITEDAPRIL，2010中文摘要小IJLLIIIFIIFIIIIRFLL㈣Y1804774在中國傳統(tǒng)美學中，“逸”是一個極具特色的美學范疇，是古代文人的審美趣味和審美理想的集中體現(xiàn)。元朝時期文人群體性對社會的退避將對“逸”的審美崇尚推到了最高峰，進而開啟了中國畫抒隋寫意的新篇章。元朝社會發(fā)展的多元性和思想的開放性，又使得逸的審美意識在此時得到更深層次的發(fā)展。本文從維度的多視角，多空間概念出發(fā)，力圖較為全面地論證元代繪畫所表現(xiàn)出的“逸“的精神實質(zhì)，以此尋求中國畫創(chuàng)作中的思想基礎(chǔ)。在這種思路之下，本課題分成五個部分在引言部分，闡述了對“逸”這個美學概念研究的目的和意義，分析研究情況。在第一章中，從含義界定、書畫中的意識流變、及其思想的根基等三個方面對“逸”進行了具體的分析，解釋“逸”在中國傳統(tǒng)美學及中國畫學中產(chǎn)生的影響。在第二章中，引用“維度”這一數(shù)學、物理學中的概念，對元朝時期繪畫風格中“逸”這一審美范疇的體現(xiàn)進行分析。從元代畫家的生活狀態(tài)、精神境界、審美狀態(tài)三個不同的視角，即三重維度，進行立體式的剖析。在第三章中，對元朝時期“逸“這一審美范疇所形成的風尚作成因分析。解釋元朝時期“逸”的境界與理學的關(guān)系。理清理學所代表的儒家的“入世”思想與“隱逸”的生活方式所代表的莊子“出世”思想的矛盾。闡釋理學中對回歸本“心“的提倡對“逸“這一審美范疇的影響。結(jié)語部分，在對前面章節(jié)的總結(jié)中得出結(jié)論，元朝時期的繪畫中所體現(xiàn)出的“逸“的精神實質(zhì)，更多的境界是保持心態(tài)的澄瑩，是將自然賦予人性，讓自然與性靈得到高度的和諧、統(tǒng)一。本課題運用文獻研究法、比較綜合法及定性分析法等方法，以科學的、客觀辯證的態(tài)度展開研究。關(guān)鍵詞逸維度生活狀態(tài)精神境界審美范疇理學

簡介：獨創(chuàng)性聲明本人聲明所呈交的論文是我個人在導師指導下進行的研究工作及取得的研究成果。盡我所知，除了文中特別加以標注和致謝的地方外，論文中不包含其他人已經(jīng)發(fā)表或撰寫過的研究成果，也不包含為獲得山東理工大學或其它教育機構(gòu)的學位或證書而使用過的材料。與我一同工作的同志對本研究所做的任何貢獻均已在論文中作了明確的說明并表示了謝意。一始絳時間≯F弓年百月怕關(guān)于論文使用授權(quán)的說明本人完全了解山東理工大學有關(guān)保留、使用學位論文的規(guī)定，即學校有權(quán)保留送交論文的復(fù)印件和磁盤，允許論文被查閱和借閱；學?？梢杂貌煌绞皆诓煌襟w上發(fā)表、傳播學位論文的全部或部分內(nèi)容，可以采用影印、縮印或掃描等復(fù)制手段保存、匯編學位論文。保密的學位論文在解密后應(yīng)遵守此協(xié)議研究生簽名導師簽名緣租專荔易時間PL弓年月何日時間訟侈年∥月FY日

簡介：吉林藝術(shù)學院碩士學位論文山水有境宋元山水畫構(gòu)圖演變及繪畫思想研究姓名張紅梅申請學位級別碩士專業(yè)美術(shù)學指導教師才彥平20060401ABSTRACTSONGANDYUANDYNASTYPEDODISTHEMOSTIMPORTANTHISTORICALSTAGEINLANDSCAPEPAINTINGDEVELOPMENTHISTORYINCHINATHEDEVELOPMENTOFLANDSCAPEPAINTINGMAINLYGOESTHROUGHTHETHREESTAGESNORTHERNSONG，SOUTHERNSONGANDYUAN，ANDTHEFORMOFCOMPOSITIONOFAPICTUREALSOEXPERIENCESSEVERALRADICALTURNSTURNINGFROMTHEFORMATTEDPANORAMICCOMPOSITIONOFPICTUREMAINLYSHOWINGNATURALLANDSCAPEINNORTHERNSONGDYNASTYTOTHESECTIONLANDSCAPETYPEANDEDGECOMERTYPECOMPOSITIONOFPICTUREMAINLYSHOWINGLOCALLANDSCAPEINSOUTHERNSONGDYNASTYANDFINALLYTOTHECONCISELEVELANDFARPICTURECOMPOSITIONFORMINYUANDYNASTYCONSEQUENTLYFORMINGTHEMOSTPERFECTSTAGEOFLANDSCAPEPAINTINGTHEDIFFERENTCOMPOSITIONSOFLANDSCAPEPICTUREINDICATEDIFFERENTPAINTINGAESTHETICTHOUGHTS，F(xiàn)ROMTHECONFUCIANSCHOOLTOTAOISTSCHOOL，THENTURNINGTOZENBUDDHISMTHOUGHTWITHTHEINSTRUCTIONFUNCTIONSOFCONFUCIAN，BUDDHISMANDTAOISTAESTHETICTHOUGHTSUPONLANDSCAPEPAINTINGINDIFFERENTPERIODS，WECANTASTETHEPAINTINGAESTHETICSSHOWINGFROMLANDSCAPEPAINTINGINDIFFERENTPERIODSINTHEMACROVIEWPOINT，ANDALSOCANFEELTHEPENETRATIONUPONLANDSCAPEPAININGFROMCULTURALCONSCIOUSNESSINDIFFERENTSTAGESASWELLASSPIRITCIRCULATINGOFCHINESECULTURESHOWNINDIFFERENTAGISTICCONCEPTIONSKEYWORDSOPERATIONLOCATION，PANORAMICCOMPOSITION，EDGECOMERTYPECOMPOSITIONOFPICTURE，LEVELANDFARTYPECOMPOSITIONOFPICTURE，PAINTINGAESTHETICTHOU曲T