簡介：繪畫中的繼承與創(chuàng)新論莫迪里阿尼與林風(fēng)眠的繪畫比較研究重慶大學(xué)碩士學(xué)位論文學(xué)生姓名姚璐指導(dǎo)教師李犁副教授專業(yè)美術(shù)學(xué)學(xué)科門類文學(xué)重慶大學(xué)藝術(shù)學(xué)院二OO八年四月重慶大學(xué)碩士學(xué)位論文中文摘要I摘要隨著現(xiàn)代世界交往的密切以及全球文明格局的改觀亞洲迎來了新的曙光越來越多的學(xué)者以向往的目光看待東方文明包括東方藝術(shù)和美學(xué)。但即使這樣人們?nèi)匀挥袃A向于西方的心理。東方文明的歷史與現(xiàn)實(shí)價(jià)值并沒有得到科學(xué)的估量但是現(xiàn)在仍然有一些藝術(shù)工作者對其不甚理解，一味照搬和狂熱追求西方，殊不知中國的才是世界的這個重要認(rèn)識，特別是對于當(dāng)代中國油畫如何才能不被時代淘汰的創(chuàng)新問題更是沒有一個清晰的思路。這種情況下重新研究這個問題，對提高我們的藝術(shù)修養(yǎng)很有必要的。本文就將通過對19世紀(jì)末20世紀(jì)初西方和中國兩個具有代表性的畫家，莫迪里阿尼與林風(fēng)眠的繪畫風(fēng)格演變過程的研究和作品分析來展現(xiàn)前人在繪畫道路上具有現(xiàn)實(shí)意義的珍貴經(jīng)驗(yàn)通過分析和研究從中發(fā)現(xiàn)中西繪畫融合的道路是一種必然而如何看待繪畫中的繼承與創(chuàng)新問題又為當(dāng)今中國油畫的發(fā)展提供借鑒，也為當(dāng)代藝術(shù)家的發(fā)展方向提供了啟示。關(guān)鍵字關(guān)鍵字東西方繪畫，融合，創(chuàng)新，繼承

簡介：ABSTRACTCHINA’SFEUDALSOCIETYMOVEDTOWARDSDECLININGAFIERTHELATERPERIODOFTHETANGDYNASTYTHESPIRITOFCHINA’SFEUDALCULTUREWASDIFFERENTTOO，THESTYLEOFBEAUTYTURNEDFROMSTRONGANDSPLENDIDTOLIGHTANDELEGANTTHEREFORE，THELATERPERIODOFTHETANGDYNASTYBECAMETHETRANSITTIONALAGEINCHINA’SPAINTINGHISTORYONEOFIT’SPERFORMANCESWASTHATLANDSCAPEPAINTINGWHICHREPLACEDRELIGIONPAINTINGANDFIGUREPAINTINGTHATWASFOCUSONCOLORBECAMETHEPAINTINGCENTERANDITALSOAFFORDEDTHESPIRITUALANCHORAGEINSCHOLARS’DESCRIBINGMANNERTHESECONDONEWASTHEWATERINKPAINTINGGREWCONSTANTLYANDFINALLYTOOKPLACEOFTHECOLORPAINTINGWHICHRELIEDMAINLYONCOLORTHENTHE‘‘INKANDWASHPAITING’BECAMETHEMATERIALCARRIEROFPAINTERS’ARTTHESEARTISTSANDSCHOLARS’DEFINITIONOFPAINTINGWASALSOCHANGEDFROMTHECORRESPONDENCEOF“COLOR’’AND“INKANDWASH”TOTHESOMEASNEATEXPRESSIONANDSPONTANEOUSEXPRESSIONELEGANTANDCUSTOMTHISARTICLETOOKTHETRANSITIONALPROCESSFROMCOLOURTOINKANDWASHINTHELATERPERIODOFTANGDYNASTYASINVESTIGATIONOBJECTWHICHWASREGARDEDASTHEPROFOUNDESTREVOLUTIONOFCHIESEPAINTINGLANGUAGESYSTEMHAPPENEDINCHINESEANCIENTPAINTINGHISTORYTHECONCLUSIONWASWHENCHINESECLASSICALPAINTINGDEVELOPEDTOWARDTANGANDSONGDYNASTYCOLORTHATRELIEDMAINLYONCOLORAPPROACHEDTHEPEAK，MEANWHILE，ITLOSTITSMAJORSTATUSGRADUALLYASTHE“INKANDWASHDRAWING”WASBOOMINGASARESULT“INKANDWASHDRAWING’’AND“CULTUREDRAWING’’THATWEREBASEDONBECAMETHEFINALHOMEOFCHINESEPAINTINGTHEARGUMENTATIONWAYINWHICHTHISLITERARYGRACEUSINGISBASEDONCOLORPAINTINGSETTINGOUTFROMTWOANGLESSEPARATELY“COLOR“、“INKANDWASH’，MAKINGCRITICIZITIONINTEXTSOFCHINESEANCIENTDRAWINGHISTORY；ANALYZINGHOW“COLOR’PAINTINGWASONTHEWAYFROMRIPETOLOSING；EMPHATICALLYANALYZINGTHEREASONOFLOSINGINCOLORCENTERTHATISTOSAYTHEREASONOF‘‘THECHANGEOFINKANDWASH”，ANDITSRECONSTRUCTIONALWAYOFCOMBINATION，DEVELOPMENTWITH‘‘INKANDWASH’’ITWAS“REPLACED’BYTHEAFTERWARDMATWERINAWORDTHEDEVELOPING“REPLACED’BYTHEAFTERWARDMANNERINAWORD，THEDEVELOPINGPROCESSINANCIENTPAINTINGTHATWASFROM“COLOUR”TO“RINKANDWASH”ISAKINDOFPOCESSINWHICHCOLORWASGRADUALLY‘‘DECLINING’ANDINKANDWASHWASCONSTANTLY“POPULAR’KEYWORDSCOLORLOSINGINKANDWASHTHECHANGEININKANDWASHII

簡介：河北大學(xué)碩士學(xué)位論文試論西方抽象繪畫藝術(shù)姓名陳星申請學(xué)位級別碩士專業(yè)藝術(shù)學(xué)指導(dǎo)教師梅寶樹20070601ABSTRACTABSTRACTTHEARTOFTACHISMEISBASEDONTHEREALISTICPAINTINGWHICHWASESTABLISHEDSINCERENAISSANCEPERIOD．THEARTPROVIDESASERIESOFAESTHETICSENTIRELYDIFFERENTFROMCLASSICALARTSPIRIT，WHICHIMPOSEDANEWFORMOFAESTHETICSANDTRANSFORMEDTHEOPINIONOFARTESSENCEASWELL，ULTIMATELYRESULTINGINCOMPLETELYNEWPRODUCTIVETHINKING，THUSBECOMINGAMIRACLEINMODEMART．THISARTICLEISINTEGRATIONOFALLDIFFERENTRESEARCHFINDINGS．FROMTHEANGLEOFTHEDEVELOPMENTOFTHISART，THEARTICLEANALYZESTHEHISTORICALANDPRESENTSTATUSANDTHEDEEPREASONSOFTHISARTTREND．BASEDONTHEABOVEFACTORS，THEARTICLEEXPLORESTHEFOLLOWINGASPECTSDEFINITION，F(xiàn)EATURES，F(xiàn)UNCTIONS，CURRENTPERPLEXITYANDPROSPECTS．THISARTICLEFOLLOWSTHEPAREMOFCLIMAX．THEFIRSTPARTDEALSMAINLYWIMHISTORICALRESEARCH．WHICHCENTERSONARTISTSOFDIFFERENTPERIODSANDANALYZESTHEARTISTS’CULTURALBACKGROUNDINWHICHTHEIRWORKSWERECOMPOSED．INADDITION，THISPARTALSOSEEKSTHEROOTSOFTHEARTOFTACHISMEINCLUDINGPHYSICAL，THEORETIC，CULTURALONES．THESETHREEASPECTSULTIMATELYCOMBINEDTOSPEEDUPTHEDEVELOPMENTOFTHISART；THESECONDPARTMAINLYDEALSWITHTHEORETICRESEARCH,WHICHOFFERSAREPLYTOTHEQUESTION‘WHATISTACHISME”BASEDONHISTORICALDETAILS．INORDERTOANSWERTHISQUESTION,CONTRASTANDCOMPARISONAREAPPLIED．BASEDONTHEABOVEDEPICTS，THEUNIQUEPARTICULARITYOFTACHISMEISPUTFORWARD；THELASTTWOPARTSDEALSWITHTHEPRACTICALVALUEOFTHISARTFORMANDREFLECTIONSGENERATEDBYIT．THEULTIMATEPURPOSEOFTHEORIESISTOINSTRUCTPRACTICEANDTHEORIESCOMEFROMPRACTICEDOCOUNT．THELATTERPARTPROBESINTOTHEFUNCTIONSOFTACHISMECONCEMINGTHERESEARCHOFNEWCONCEPTANDVALUES．BESIDES，THELATTERPARTFORECASTSTHEDEVELOPMENTOFTACHISMEINACCORDANCE謝TLLTHEMODEMBACKGROUND，ARTISTICPHENOMENONANDLAW,THUSINTERPRETINGANDPERFECTINGTHEARTOFTACHISME．KEYWORDSTACHISMEARTISTICFEATURESAESTHETICSSTRUCTUREOFCULTURALMINDARTCONE印TⅡ

簡介：論文題目文藝復(fù)興時期繪畫作品中的基督形象研究聊城大學(xué)碩士學(xué)位論文論文題目論文題目文藝復(fù)興時期繪畫作品中的基督形象研究研究生姓名羅志鶴羅志鶴專業(yè)名稱藝術(shù)學(xué)藝術(shù)學(xué)指導(dǎo)教師姓名鄭旭慶鄭旭慶教授教授學(xué)院藝術(shù)藝術(shù)學(xué)院學(xué)院論文提交日期20200909年4月分類號J211單位代碼10447密級無研究生學(xué)號0610080103原創(chuàng)性聲明本人鄭重聲明所提交的學(xué)位論文是本人在導(dǎo)師的指導(dǎo)下，獨(dú)立進(jìn)行研究取得的成果。除文中已經(jīng)注明引用的內(nèi)容外，論文中不含其他人已經(jīng)發(fā)表或撰寫過的研究成果，也不包含為獲得聊城大學(xué)或其他教育機(jī)構(gòu)的學(xué)位證書而使用過的材料。對本文的研究作出重要貢獻(xiàn)的個人和集體，均已在文中以明確方式標(biāo)明。本人承擔(dān)本聲明的法律責(zé)任。學(xué)位論文作者簽名日期學(xué)位論文使用授權(quán)聲明本學(xué)位論文作者完全了解聊城大學(xué)有關(guān)保留、使用學(xué)位論文的規(guī)定，即聊城大學(xué)有權(quán)保留并向國家有關(guān)部門或機(jī)構(gòu)送交學(xué)位論文的復(fù)印件和磁盤，允許論文被查閱和借閱。本人授權(quán)聊城大學(xué)可以將學(xué)位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫進(jìn)行檢索，可以采用影印、縮印或其它手段保存、匯編學(xué)位論文。學(xué)位論文作者簽名日期導(dǎo)師簽名日期

簡介：東北師范大學(xué)碩士學(xué)位論文吳昌碩的繪畫與傳統(tǒng)文人畫的異同姓名李波申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師戴成有20050501ABSTRACTTHECHANGEANDDEVELOPMENTOFANYARTAREALLCARRIEDONUNDERCENAINSOCIALHISTORICALCONDITION”THEMODE0FPRODUCTIONOFTHEMATERIALLIFE，RESTRICTSPROCESSOFTHEWHOIESOCIALLIFE，THEPOLITICALLIFCANDTHECULTURALIIFE”ARTISTSARETHECA玎IERFORTHECHANGEANDDEVELOPMENTOFART，THEREFORE，THEPAINFING0FONEPERIODREFLECTSTHESPIRITOFTHATTIMES，THECHANGEOFTHETIILLESMUSTCAUTHEDEVELOPMENFTHEREUPONCONSTAILTLYOFAN，TOOASA孕EATSCHOOLOFCHINESEPAINTINGS，CHHESESCHOIARDRAWSDEVELOPINTOTHEMIDDLEANDLATEPERIODSOF山E19THCENTU嗡TLLEN“COULDN’TBECOMPL堿TANDCONSERVATIVEEITHER，BECAUSEOFTHEENONNOUSCHANGESOFCHILLESESOCIETYT1LUS，THECHINESESCHOLARDRAWSHAVEBEGIVENANEWCONTENTBYERAJUSTIⅡTHATPERIODWHENSOCIETYEXPERIENCEDGREATCHANGESANDARTWASPROSPEROUS，ADAZZLINGSTARCHANGSHUOWUEMERGEDINMEDEVELOPMEMOFTHEMODEⅡLFINEANSHEDESTROYEDTHEDISPIRITEDATMOSPHEREOFTLLEONHODOXSCHOOLSOFPAINTING∞MPLETELY，ANDOPENEDTHEIMPRESSIVENEWREALM0FANOFTHE20THCEMURY’MAKEINGALINESEARTENTERAⅡEWERAMTHOUGHHISPAINTINGSWERELISTEDIMOTHECATE90RYOFCHINESESCHOLARDRAWSBYTHEORYCOMMUNITY’HOWEVER，ATTHISMOMEM，THIS“SCHOLARDRAWS”WERENOTTHATTHATTIMES”DRAWSCHOLAR”THISARTICLEFBCUSONCOMPARINGCHANGSHUOWU’SPAINTIILGOFACERTAINHISTORICALPERIODWIM仃A跚ONAL“SCHO脅DRAWS”，BYWHICHT0FIⅡDOUTTHEPOINTAPPEARINGINBOTHCHANGSHUOWU’PAINTINGSA芏LDTHETRADITIONALSCHOLARDRAWSANDALSOTOFIND0UTWU’SCRCATIVEPOINT，THAT’STHESIMILAR試ESAILDDI髓RCNCESWHICHTHETRADITIONALSCHOLARDRAWAREDICKEDPEOPLECANHAVEADEARVIEWONTHEFEATURCOFTHEDIFEERENTPBASES0FTHE丘NEARTSDEVEL叩MENTKEYWORDSTHESCH01ARDRAWS；TRADITION；C11AⅡGSHUOWU；SILLLILARITIESANDDITFERCNCESLI

簡介：西北師范大學(xué)碩士學(xué)位論文印象派繪畫藝術(shù)的轉(zhuǎn)捩與變革研究姓名林自棟申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師張學(xué)乾20050501ABSTRACTTHENATURALISM、PHOTOGRAPHY、OPTICSSTUDYRESULTOFEUROPEIN19‘“CENTURYANDJAPANESEARTHAVEEXCEEDGREATINFLUENCEONEUROPEANPAINTINGWHATLEADSTOAGREATINNOVATIONOFWESTERNARTATTHEENDOF19“CENTURYANDISCONSIDEREDASTHEMOSTINNOVATIVEMOVEMENTSINCERENAISSANCEINTHEHISTORYOFEUROPEANARTISTHEAPPEARANCEOFIMPRESSIONISM。THEIMPRESSIONISMOVERTHROWSTHESOCIOLOGICALFUNCTIONOFTRADITIONALART，ANDSEPARATESPAINTINGFROMRELIGION、POLITICSANDLITERATURE，ITNOLONGERREPRESENTSTHESUBJECTITSELFWHILESTRESSINGTHEVISUALIMPRESSIONOFTHEPHYSICALOBJECT，ACCORDINGTOTHELIGHTZONECOLOROFSUNLIGHT，THEIMPRESSIONISTSFORMULATETHEPRINCIPLEOFCOLORPRESENTATION，F(xiàn)ORMINGTHECOLORSYSTEMOFIMPRESSIONISMPAINTINGANDGIVINGPROMINENCETOTHELIGHTANDCOLOR，THEREFOREITFREESCOLORFROMTHEPHYSICALOBJECTANDTHELIGHTANDSHADE，THROUGHTHETRANSFERENCEANDRECONSTRUCTIONOFCOLOR，ITGRADUALLYTRANSFORMSINNERFEELINGOFOBJECTIVECOLORINTOSUBJECTIVECOLOR，THEYEMPLOYNATUREASTHEMEDIUMOFSUBJECTIVEFEELINGANDREDUCETHEFORMANDSTRUCTUREANDTHERELATIONSHIPBETWEENTHELIGHTANDSHADEIMPRESSIONISMSEEKSTOPLANEMOLDINGMAKINGANDUSESINCOMPLETEFRAGMENTCOMPOSITION，REPRESENTINGTHETRANSIENTIMPRESSIONANDOBJECTIVEFEELINGOFTHEOBJECTTHEIMPRESSIONISMPAINTERSPURSUEIMPROVISATIONALPAINTINGFROMLIFEOFANDGIVEUPPRODUCINGMANYTIMESOFCLASSICISM，ANDTHROU曲THEOVERLAPPINGOFOPAQUEANDTRANSPARENTCOLORONTHEWHITEFOUNDATIONTHEYDIRECTLYPAINTTHECOLORTHEYFEEL，EVENTHEYPAINTDIRECTLYONCANVASWITHTHEPURELIGHTSIMILARTOSUNLIGHTSPECTRUMWITHOUTHARMONIZINGCOLOR，ONLYTOTRYINGTHESPATIALMIXTUREVISUALLYFROMDIFFERENTVISIONSTHEAUTHORCOMPARESTHEIMPRESSIONISMPAINTINGWITHWESTERNTRADITIONALPAINTING，ANDDEMONSTRATESTHETRANSFORMATIONANDINNOVATIONOFIMPRESSIONISMINPAINTINGSUBJECT、REPRESENTINGFORMS、AESTHETICPURSUITANDTECHNIQUES，HENCESTUDIESTHOROUGHLYTHEULTIMATESIGNIFICANCEOFTHEIMPRESSIONISMONTRADITIONALARTANDTHEMODEMEVOLUTIONTHREADOFWESTERNART，THROUGHWHICHTHEAUTHORSEEKSTHEINNATELAWWHENWESTERNTRADITIONALPAINTINGMAKESAHISTORICALTURNINGANDEPOCHTRANSITIONKEYWORDSIMPRESSIONISMSUBJECTMATTERFORMSOFREPRESENTATIONAESTHETICPURSUITTECHNIQUEINNOVATION

簡介：聲明本人鄭重聲明所呈交的學(xué)位論文，是本人在指導(dǎo)教師的指導(dǎo)下，獨(dú)立進(jìn)行研究所取得的成果。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)表或撰寫過的研究成果。對本文的研究做出重要貢獻(xiàn)的個人和集體，均已在文中以明確方式標(biāo)明。本聲明的法律責(zé)任由本人承擔(dān)。論文作者簽名壅盤馬室日期701坼莎、莎關(guān)于學(xué)位論文使用權(quán)的說明本人完全了解太原理工大學(xué)有關(guān)保管、使用學(xué)位論文的規(guī)定，其中包括①學(xué)校有權(quán)保管、并向有關(guān)部門送交學(xué)位論文的原件與復(fù)印件；②學(xué)?？梢圆捎糜坝?、縮印或其它復(fù)制手段復(fù)制并保存學(xué)位論文；⑧學(xué)?？稍试S學(xué)位論文被查閱或借閱；④學(xué)?？梢詫W(xué)術(shù)交流為目的，復(fù)制贈送和交換學(xué)位論文；⑤學(xué)?？梢怨紝W(xué)位論文的全部或部分內(nèi)容保密學(xué)位論文在解密后遵守此規(guī)定。簽名盞弛墮導(dǎo)師簽名蔓時鼯日期矽L叱6、6日期／D／，爭、衫沙、太原理工大學(xué)碩士研究生學(xué)位論文代社會變遷下，對這個邊緣社會群體的尊重和關(guān)切。2013年5月在中國油畫院和清華人學(xué)美術(shù)學(xué)院美術(shù)館舉辦的相由心生一忻東旺油畫作品展。是中國寫實(shí)油畫史的一次重要藝術(shù)事件，通過數(shù)十張不同的職業(yè)不同身份的人物題材，從人物的細(xì)節(jié)和深入的刻畫，表現(xiàn)了當(dāng)代社會背景下低收入人群日常狀態(tài)下的生存壓力，引起人們重新對這個群體的審視和關(guān)注。山西是忻東旺藝術(shù)生涯的搖籃，而山西宋元壁畫及其雕塑無疑是他藝術(shù)語言的啟蒙者，造型風(fēng)格的締造者。作為中國當(dāng)代新寫實(shí)油畫的優(yōu)秀代表人物，忻東旺從芮城元代永樂宮三清殿壁畫臨摹，到平遙雙林寺天王雕塑的創(chuàng)作，再到晉祠宋代侍女像彩塑的寫生，無不顯示出忻東旺對宋元美術(shù)的摯愛和膜拜，而宋元優(yōu)秀的壁畫與彩塑在很大程度影響了他油畫技術(shù)語言的方式，造型特征的形成，人物情態(tài)的表達(dá)，并由此形成他最終的風(fēng)格樣式及背后蘊(yùn)含的美學(xué)價(jià)值。關(guān)鍵詞忻東旺，油畫人物，繪畫語言，美學(xué)價(jià)值

簡介：編號碩士學(xué)位論文碩士學(xué)位論文題目丙烯材料語言在當(dāng)代水性媒介繪畫中的實(shí)踐培養(yǎng)單位美術(shù)與設(shè)計(jì)學(xué)院專業(yè)名稱水彩指導(dǎo)教師董喜春研究生魏迪亞完成時間2012年3月15日沈陽師范大學(xué)研究生處制類別全日制研究生教育碩士同等學(xué)力丙烯材料語言在當(dāng)代水性媒介繪畫中的實(shí)踐I丙烯材料語言在當(dāng)代水性媒介繪畫中的實(shí)踐摘要從20世紀(jì)開始至今，藝術(shù)的發(fā)展愈為蓬勃興旺，呈現(xiàn)出一個百家林立、風(fēng)格各異的多元化格局。藝術(shù)觀念和審美理念的轉(zhuǎn)換、變革和變異，導(dǎo)致各種藝術(shù)流派頻繁更選，各種與之相適應(yīng)的媒材和技法也應(yīng)運(yùn)而生，且各自都富有個性的語言樣式。同時藝術(shù)家們集中思考實(shí)驗(yàn)藝術(shù)問題、藝術(shù)與其他領(lǐng)域相互交叉的問題。水彩的繪畫形式開始有著完全不同于傳統(tǒng)的內(nèi)容，水性媒介的繪畫形式與技術(shù)媒介等變化各異，可以說，在現(xiàn)代和后現(xiàn)代藝術(shù)中，作為水性繪畫語言元素的綜合材料本身就是形式和內(nèi)容，藝術(shù)家們將各種不同來源的水性媒介材料語言匯集在一起，運(yùn)用到當(dāng)代水彩畫的創(chuàng)作中，形成各種緩緩迷離的風(fēng)格特征。正如美國畫家杰克遜波洛克所說“我不知道在畫什么，只有以后，我才看到我畫了什么?！庇秩缭诨ァ⑺柊Ｋ沟淖髌分?，我們可以看出他們對綜合材料的探索，他們將沙石、水泥、鋸末、彩膠、油漆、瀝青、化學(xué)染料、丙烯顏料等材料混合制作畫面肌理，再結(jié)合繪畫顏料繪制而成，可以說是用非正統(tǒng)的綜合材料來進(jìn)行正統(tǒng)的架上繪畫藝術(shù)。在藝術(shù)創(chuàng)作的過程中為了加強(qiáng)視覺沖擊力或強(qiáng)化某種觀念，藝術(shù)家往往采用在造型和質(zhì)量感表現(xiàn)上更加強(qiáng)有力的材料。通過對傳統(tǒng)媒材加以替換、變異、解構(gòu)、重組與綜合，使多種藝術(shù)語言元素重新聚合，從而構(gòu)建了優(yōu)化綜合材料或者說綜合材料這一獨(dú)特的語言形式，并將其作為直接表達(dá)現(xiàn)代主義與后現(xiàn)代主義觀念藝術(shù)的重要元素。關(guān)鍵詞綜合材料，水性媒介，新模式，藝術(shù)實(shí)踐

簡介：西安美術(shù)學(xué)院碩士學(xué)位論文論齊白石繪畫的童真美姓名蔣紅雨申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師姜怡翔200803013齊白石花鳥畫的童真美。一是擬人化的童真畫面。齊白石的花鳥作品，有一個突出的特點(diǎn)，那就是反反復(fù)復(fù)地刻畫他對家鄉(xiāng)和童年的回憶。從齊白石的繪畫作品之中，可以看出齊白石的擬人化的語言、擬人化的畫面、擬人化的意境，充滿兒童般的童趣。二是兒童般的繪畫語言。在齊白石的作品中，童真美并不是簡單的描寫對象，也不是審美趣味的概念符號，而是把生動的對象和感情凝結(jié)在一起，構(gòu)成自己的活的藝術(shù)形象，恰似兒童畫中“以我為主’’的夸張手法的運(yùn)用，兒童往往把自己認(rèn)為重要的內(nèi)容，最感興趣的物象畫得最工細(xì)、畫得最大、最夸張，而將其他物象畫得概括、畫小、畫虛化，甚至根本就不畫出來，讓人從作品中聯(lián)想到童年的記憶、童年的天真。童心、童趣是齊白石繪畫的精神特色之一，人們常說齊白石的畫“雅俗共賞“其原因就是可以從畫中感受到老人的童真之心。特別是在那些小雞、青蛙、蝌蚪、麻雀、老鼠之類的小動物身上，最見齊白石的一片童心，最見一位老人對兒童生活的懷戀，最見”老小孩”的天真、可愛。齊白石以獨(dú)到的技法，非凡的創(chuàng)意，為我們留下了大量的充滿童真與稚氣的作品，他的藝術(shù)，不僅是中華民族的珍貴遺產(chǎn)，而且在東方乃至世界，也具有不朽的魅力和新的意義。關(guān)鍵詞齊白石繪畫童真美研究類型理論研究

簡介：首都師范大學(xué)碩士學(xué)位論文孫志鈞的現(xiàn)代工筆人物繪畫風(fēng)格之研究姓名宣俊杰申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師孫志鈞20080403ABSTRACTFINEBRUSHWORKFIGUREPAINTINGINMODEMANDCONTEMPORARYCHINAACOMBINATIONOFBOTHWESTERNANDCHINESEPAINTINGSTYLES，ISASSUMINGANEWLOOKOFVITALITYTHISTHESIS，AIMSTOCONDUCTADETAILEDSTUDYONSUNZHIJUN’SPAINTINGSTYLEANDDISCLOSEREVELATIONITCANBRINGTOUSSUNWHOSEMAJORPAINTINGTHEMEISTHEPRAIRIE，HASBEENWORKINGFORYEARSONTHEEXPLORATIONANDRESEARCHOFFINEBRUSHWORKFIGUREPAINTINGINMODEMCHINAWHICHFEATURESPREDOMINANTLYCHINESEPAINTINGSTYLEANDALSOHASDRAWNSTRENGTHSFROMWESTERNPAINTINGS，ANDHASFORMEDHISUNIQUESTYLEOFREALISTICPAINTINGWHICHISDIFFERENTFROMTHETRADITIONALANDMODEMONESONTHESANLETHEMEKEYWORDSSUNZHIJUNTHEMEOFPRAIRIECOMBINATIONFINEBRUSHWORKFIGUREPAINTINGINMODEMCHINAⅡ

簡介：山東大學(xué)碩士學(xué)位論文詩意的企盼倪云林繪畫藝術(shù)的成因及精神指歸姓名于秋立申請學(xué)位級別碩士專業(yè)世界史指導(dǎo)教師鄭群20090410ABSTRACTNIYUNLINWASALLOUTSTANDINGSCHOLARPAINTERINTHECHINESEDRAWINGHISTORYWITHTHESTUDYOFNIYUNLINGOINGFURTHERHEBECAMEMOREANDMOREPOPULARSINCEMINGANDQINGDYNASTIESANDTHEREWASAPOINTOFVIEWTHATPEOPLEINSOUTHEL71CHINAWHOOWNEDNI’SPAINTINGWERECONSIDEREDCLEARANDSOBERMINDEDINTHECOMPLICATEDHISTORICALCONTEXT，HEGAINEDTHEFAMEAS“AHOLYHERMIT，BECAUSEOFHISUNIQUEANDUNRULYPERSONALITYANDHISLIFEPHILOSOPHYOFHOLDINGALOOFFROMTHEWORLDHISWORKSEMBODIEDTHEIDEALSOFHUMANITYANDTHELONGCHERISHEDWISH“EMPTYPAVILION”APPEAREDREPEATEDLYINHISPAINTINGSWHENSEPARATING“EMPTYPAVILION”FROMHISPAINTINGSANDPUTTINGITINTHEHISTORICALBACKGROUND，ANDESPECIALLYCONSIDERINGHISUNIQUELIFEEXPERIENCEANDTHEABNORMALRULINGOFYUANDYNASTYWECANEASILYFINDTHATTHESYMBOLIC‘‘EMPTYPAVILION”ISTHETRANSFORMATIONOFHISPERSONALITYWHICHCONCEALSHISUNSPEAKABLEMENTALITY‘‘EMPTYPAVILION’’ISTHEPURELANDANDTHEIDEALDWELLINGPLACEANDTHESPIRITUALHOMEHEHADSOUGHTFORTHETHESISISCOMPOSEDOFFIVECHAPTERSBESIDESINTRODUCTIONANDCONCLUSIONCHAPTERONE，HISTORICALBACKGROUNDOFYUANDYNASTYCONSISTSMOGOLIANREIGNINYUANDYNASTYHIERARCHYANDSCHOLAR’SSITUATIONINYUANDYNASTYANDTHESCHOLAR，SULTIMATECHOICE～HERMITINMOUNTAINANDFORESTCHAPTERTWOISNIYUNLIN，SLIFESTORVWHICHINCLUDESCOMFORTABLEANDWEALTHYJUVENILEYEARS，BEINGFORCEDTOKEEPHOUSE。ANDSEEKINGFORSPIRITUALHOMEASAHERMITCHAPTERTHREE，SHININGARTSTYLEOFYUANDYNASTYINCLUDESTHEBEGINNINGOFPAINTINGARTVOGUEOFYUANDYNASTYSCHOLASTICFEATUREANDPERSONIFICATIONOFLANDSCAPEPAINTINGINYUANDYNASTYCHAPTERFOURTHEFORMATIONOFNIYUNLIN’SPAINTINGSTYLE，INTRODUCESTRADITIONALLANDSCAPEPAINTINGCONTEXT，NIYUNLIN’SPAINTINGARTVIEWMOULDINGHIMSELFGRADUALLYANDENTERINGABETTERSTAGE，ANDREACHINGTHESUMMITGRADUALLYANDNATURALLYCHAPTERFIVE，PUREANDIDEALSPIRITUALHOME，CONSISTSUNLIMITEDSCENERYINLIMITEDSPACEPAVILION，POETICRESIDINGPLACE，ANDHEARTFELTEXPECTATIONTHISCHAPTERISTHEFOCUSOFMYARTICLEITREVEALSTHEINNERPURSUITOFTHEARTISTHIMSELFANDTHE”BENEVOLENCE”O(jiān)FANCIENTIITERATOR4KEYWORDSNIYUNLIN；SECLUSION；NATURALELEGANCE；INSIGNIA；EMPTYPAVILION

簡介：西安美術(shù)學(xué)院碩士學(xué)位論文圖像的力量試析具象繪畫中的圖像形式語言姓名嚴(yán)彬申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師趙健20100401ABSTRACTIMAGEISONEOFTHEVISUALPERCEPTIONOFAMATERIALREPRESENTATION，SINCETHEBEGINNINGOFDEVELOPMENTOFHUMANCIVILIZATIONHASBEENACCOMPANIEDBYTHEDEVELOPMENTOFTHEARTOFPAINTING．DIVERSITYOFNATUREMORELIKELYTOBEPICTUREPERFORMANCERATHERTHANLANGUAGETODESCRIBE，F(xiàn)ROMTHEMOSTANCIENTARTOFANCIENTPEOPLECANBESEENNOTONLYTHESTONE．BONESPROCESSEDINTOTOOLS，ALSOPAINTEDONTHEPICTUREABOVE．WELLKNOWNEXPERIENCEINTHEIRDAILYLIVES，WETENDTOBEMOREDIRECTLYTOUCHEDBYANIMAGEORPICTURETOAVARIETYOFDIFFERENTTYPESOFPAINTINGSANDSCULPTURESSHOWNINTHEFCIRMOFARTISTICEXPRESSIONWILLBEDESIGNEDTOAROUSEAKINDCANBEUNDEMTANDTHEEXPERIENCE，WHICHISONTHEINTEGRATEDEXPERIENCEOFACTIONANDBEHAVIOR’SUCHASEXPECTATIONS，EMOTIONS，ATTITUDES，INTERESTS，ANDSOON．THISINVOLVESTWOASPECTSFIRST，BETWEENARTISTSANDTHEIRCREATIONSBETWEENSUBJECTANDOBJECT；SECOND，BETWEENARTANDVIEWER．INTHISWAY,ARTCANBEPLACEDONCERTAINPSYCHOLOGICALASPECTS。SUCHASCOGNITIVE。EMOTIONAL，ORSOCIALORIENTEDASPECTSTOBEEXPLORED．THEPURPOSEOFTHISHISTORICALDEVELOPMENTF蛔MTHEPAINTINGANDTHEAESTHETICANDPSYCHOLOGICALPERSPECTIVEONTHEARTOFPAINTINGTHEIMAGEOFTHESIGNIFICANCEOFTHEDEVELOPMENTPROCESS．

簡介：本文從繪畫的形式結(jié)構(gòu)入手，通過繪畫史中形式結(jié)構(gòu)的演變，研究塞尚面對自然“純粹直觀”的形式構(gòu)成方法，并通過圖解來系統(tǒng)地分析其形式構(gòu)成語言。第一章討論了繪畫結(jié)構(gòu)和構(gòu)圖的區(qū)別，回溯了從早期至巴洛克繪畫形式結(jié)構(gòu)的發(fā)展歷史，探討了它在不同時期的特征第二章通過普桑和德拉克洛瓦等人作品形式結(jié)構(gòu)的分析，探討了他們對塞尚繪畫的影響第三章通過塞尚自成熟期至晚年的靜物、肖像、浴者、風(fēng)景等作品來具體分析其繪畫形式構(gòu)成方法，并用圖解來深入探討其形式構(gòu)成特征第四章通過研究塞尚面對自然、純粹直觀的視覺方式，比較現(xiàn)象學(xué)、佛教中相關(guān)理論，揭示塞尚繪畫形式構(gòu)成方法的特點(diǎn)。

簡介：編號碩士學(xué)位論文碩士學(xué)位論文題目淺析繪畫中水性材料的特征與實(shí)踐培養(yǎng)單位美術(shù)與設(shè)計(jì)學(xué)院專業(yè)名稱美術(shù)（水彩）指導(dǎo)教師董喜春研究生王繼光完成時間2012年3月1日沈陽師范大學(xué)研究生處制類別全日制研究生√教育碩士同等學(xué)力淺析繪畫中水性材料的特征與實(shí)踐2ANALYSISWATERBASEDMATERIALSACTERISTICSUSEDDIVERSIFIEDDEVELOPMENTOFNECESSITYABSTRACTINMODERNSOCIETYWITHTHEPROGRESSOFSCIENCETECHNOLOGYTHEARTSALSOINVIGOUSDEVELOPMENTARTMATERIALSFACTYCONSTANTLYINTRODUCENEWPRODUCTSATTHESAMETIMETHERAPIDDEVELOPMENTOFINFMATIONTECHNOLOGYMAKESTHEEASTWESTCULTURALEXCHANGESBECOMEVERYEASYDIFFERENTTYPESOFWKSINTHEMATERIALCOLCOMPOSITIONTECHNIQUESETCCANBEOBTAINEDFROMEACHOTHERTHEDEVELOPMENTOFTHEWKMAKESTHECOUNTRYCULTUREIDEOLOGYWILLBETOMAXIMIZETHETRANSMISSIONDIFFERENTEXTENTAFFECTTHEARTISTSWKEACHPAINTINGBETWEENTHERELATIONSHIPBECOMESMECLOSELYPIGMENTPROPERTIESOFDIFFERENTMAKESOFARTISTSINTHEARTEXPLATIONOFPLAYASMUCHASPOSSIBLEMATERIALSTRENGTHSFARTISTSCANCLEARLYUNDERSTTHEIRUSEOFTHEMATERIALISVERYNECESSARYTHENATUREOFTHEMATERIALACTERISTICSTHEMEDIUMINTERACTSDIRECTLYAFFECTTHEPICTUREQUALITYTHEEMERGENCEOFNEWMATERIALSWILLBEGIVENTOTHOSEWITHCREATIVEARTISTSABROADERPLATFMTOSHOWCASETHEIRWKWHICHREQUIRESARTISTSTOPUTMETHOUGHTENHANCETHEIRAWARENESSOFINNOVATIONTHECOURAGETOCONTINUETOEXPERIMENTWITHNEWMATERIALSBREAKTHROUGHTHETRADITIONALTECHNIQUESOFBOUNDCANBEMEEXPRESSIVEWKSITALSOCATERSTOTHEPEOPLECONSTANTLYIMPROVETHEAESTHETICCONSCIOUSNESSATPRESENTINTHEDOMESTICAFEWARTACADEMYSPECIALIZEDWATERBASEDMATERIALSSTUDIOCOMPAREDTOFEIGNCONTEMPARYARTSUCHASTHERAPIDDEVELOPMENTOFCHINASMODERNCONTEMPARYARTESPECIALLYTHEARTONFRAMEISMECONSERVATIVETHISCOURSETHEDIFFERENCESBETWEENCHINESEWESTERNCULTUREONTHETRADITIONALWATERBASEDMATERIALSPAINTINGFFRAMEARTSOONTHEWATEROFTHEDIVERSITYOFMATERIALSDEVELOPMENTISQUITENECESSARYTOSTUDYTHEWATERMATERIALDEVELOPMENTTHEREAREMANYPLACESTOBETHEARTISTSEXPLATIONFROMANAQUEOUSMATERIALDEFINITIONWECANTRYDIFFERENTITNOLONGERREFERSTOTHOSETHETRADITIONALWATERBASEDMATERIALSBUTREFERSTOALLCANUSEWATERTORECONCILETHEMATERIALWHETHERITISCHEMICALSUPPLIESINDUSTRIALMATERIALCANBEAPPLIEDTOTHESCREENSUCHMATERIALSAREARTISTSWILLCONTRIBUTETOTHEAPPLICATIONOFPAINTINGARTTODIVERSIFIEDDEVELOPMENTAQUEOUSMATERIALDIVERSIFICATIONDEVELOPMENTINLINEWITHTHEMODERNAESTHETICLAWSHAVEPOWERFULVITALITYWILLBECOMETHEDEVELOPMENTTRENDOFWATERBASEDMATERIALSTOFURTHERENRICHTHEPAINTINGEXPRESSIONMAYPROVIDETHISPAPERDISCUSSESTHEPAINTINGINSEVERALAQUEOUSMATERIALSSUCHASWATERCOLGOUACHEACRYLICACTERISTICSBYCONTEMPARYARTISTSMYTWOPAINTINGSFAMEINDEPTH

簡介：山東師范大學(xué)碩士學(xué)位論文I碩士學(xué)位論文論文題目論文題目西方現(xiàn)代繪畫中的線條運(yùn)用與畫家的個性化審美觀念學(xué)科專業(yè)名學(xué)科專業(yè)名稱美術(shù)學(xué)美術(shù)學(xué)申請人姓名楊鳳鳴楊鳳鳴導(dǎo)師姓名趙勤國趙勤國教授教授論文提交日期論文提交日期20132013年55月1717日單位代碼10445學(xué)號2010020639分類號J205研究生類別全日制山東師范大學(xué)碩士學(xué)位論文III目錄中文摘要IVABSTRACTV導(dǎo)言1第一部分裝飾寫實(shí)表現(xiàn)線條在西方繪畫中的流變3第一節(jié)具有裝飾性特征的線條3第二節(jié)具有寫實(shí)性特征的線條4第三節(jié)具有表現(xiàn)性特征的線條6第二部分表現(xiàn)性線條西方現(xiàn)代繪畫中的線條運(yùn)用7第一節(jié)表現(xiàn)輪廓與結(jié)構(gòu)的線條7第二節(jié)表現(xiàn)節(jié)奏韻律的線條10第三節(jié)表現(xiàn)裝飾美感的線條11第四節(jié)表現(xiàn)空間關(guān)系的線條13第五節(jié)表現(xiàn)抽象意涵的線條14第三部分線條所體現(xiàn)的畫家的個性化審美觀念17第一節(jié)率真簡約的童稚化線條17第二節(jié)自由狂野的壓抑感線條21第三節(jié)飛舞跳躍的交響樂般線條24第四節(jié)扭曲顫抖的悲劇性線條26第五節(jié)堅(jiān)韌厚重的滄桑感線條29第六節(jié)審美觀照下的線條藝術(shù)32結(jié)語36注釋37參考文獻(xiàn)38致謝39攻讀碩士學(xué)位期間科研成果目錄40攻讀碩士學(xué)位期間部分學(xué)術(shù)作品41