簡介：南京藝術(shù)學(xué)院博士學(xué)位論文中西傳統(tǒng)繪畫空間表現(xiàn)比較研究姓名馮民生申請學(xué)位級(jí)別博士專業(yè)中外美術(shù)比較指導(dǎo)教師奚傳績20060601COMPARATIVESTUDIESONTHESPACEEXPRESSIONOFCHINESEANDWESTERNTRADITIONALPAINTINGSABSTRACTTHEREAREMANYRESEARCHESOFTHEEXPERTSATHOMEANDABROADONCOMPARATIVESTUDIESONTHESPACEOFCHINESEANDWESTERNTRADITIONALPAINTINGSHOWEVERTHEYALLLACKOFASYSTEMATICSTUDYESPECIALLYONTHEREASONSOFTHECHARACTERISTICSOFTHESPACEEXPRESSIONINTHETRADITIONALCHINESEANDWESTERNDRAWINGTHISESSAYFOCUSESONTHEANGLEOFTHEPAINTINGSPACEEXPRESSIONTOEXPLORETHESIMILARITIESANDDIFFERENCESBETWEENCHINESEANDWESTERNTRADITIONALPAINTINGSBASEDOILTHERESEARCHRESULTOFTHEPREDECESSORSTHERESEARCHSHOWSTHATCHINESETRADITIONALPAINTINGSPURSUITINTHEIMAGESPACEOFTHEMIXTUREOFSUBJECTSANDOBJECTSONTHESPACEEXPRESSIONTHEYAREFLOWINGWHILEWESTERNTRADITIONALPAINTINGSPURSUITINTHEVIVIDILLUSIONOFTHEREALITYSPACETHEYAREMOTIONLESSRELATIVELYMEANWHILECHINESEANDWESTERNTRADITIONALPAINTINGSHAVESOMESIMILARITIESONSPACEEXPRESSIONTHEMAINREASONLIESINTHEEASTERNTHOUGHTFULSTYLEANDTHEIDEAOFENTITYBETWEENNATUREANDMAIL，CHINESECHARACTERSANDCALLIGRAPHYWHILEINWEST，ITLIESINTHEDEEPROOTED‘‘COPYIDEA’’ANDWESTERNTHOUGHTFULSTYLE，ANCIENTGREEKCARVINGARTS，ETCKEYWORDSEASTERNANDWESTERNTRADITIONALDRAWING，SPACEEXPRESSION，COMPARATIVESTUDIES

簡介：V121L077’，，．一～。IⅢ一．_‘小州?1_1南京藝術(shù)學(xué)院碩士學(xué)位論文它映射出什么西方繪畫中“鏡子”的意義研究‘K姓名賞重導(dǎo)師姓名劉往墨L塑撞2中晴學(xué)愾蛐別衛(wèi)L±一學(xué)科專業(yè)私豺韭凰羞苤主一睦文拋?zhàn)儭綢I9J上嫂L董生且2Q旦論』替辯H朝上嫂衛(wèi)笙星丑衛(wèi)±且’位授R中世豆疆立生T蘭睦RT攫RI1如_呈殳生JL墾答卅自∞川}胞哇“ⅫK2001年叭H20IJ南京藝術(shù)學(xué)院碩士學(xué)位論文摘要鏡子這樣一件司空見慣的物品在西方繪畫中出現(xiàn)，并不是僅僅起到陪襯、裝飾等簡單效果，這其中往往隱含著某些相對重要的訊息。本文從鏡子的光學(xué)特性、鏡中映像、道德倫理象征、與女性的關(guān)系等方面入手，對這樣一件極易被忽視的圖像細(xì)節(jié)展開分析，從而揭示出鏡子存在于繪畫中的真正意義。關(guān)鍵詞鏡子鏡像光學(xué)特性死亡女性

簡介：天津美術(shù)學(xué)院碩士學(xué)位論文寫我胸中之逸氣繪畫史中的情感表現(xiàn)姓名李淑錦申請學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師孫建平20070701PAINTINGTJLEFUGITIVESPIRITINMYBREASTEXPRESSIONOFFEEIINGSINTHEHISTORYOFPAINTINGLISHUJINDIRECTEDBYSUNJIANPINGABSTRACTPAINTJNGASANIMPORTANTFOM0FVISUALANANDAPROCESSOFEXPRESSLNG0NE’SMENTAIITYANDFEELINGSISSOMETHINGINTOWHICHTHEPAINTEFPOLLFSHSFEEUNGSONIYIFAWOFKO。PAJNI119ORIGINATEST’ROMTHEURGPOFFEELINGSWITHSTRESSLAIDONSPIRITFEELINGSANDCONNOTATLONCANTEMITAYS二RINLELLGENCEANDTOUCLLILLETRUEESSENCEOFANATAH神ERLEVEITHEFUGTIVE”SN0‘MEFELVAKINDOFSCHEMABUTAKINDOFSPIRIL，WHATISCALLEDTHE“純G；TIVE’LSANO斟EQUALITYKEYWORDSFUGITIVESPIRITSPIRITFU舀TIVEFUG；TIVESTYLE；EXPFESSION2

簡介：東北師范大學(xué)碩士學(xué)位論文法常變而道不變論黃賓虹的繪畫民族性主張及其現(xiàn)實(shí)意義姓名趙煜申請學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師張建華20050501ABSTRACTINCHINESEARTISTICCIRCLESBOTH1980S’CRISESTHEORYAND1990S’DEBATESOVERTHISASSUMPTIONCENTEREDONTHEFUTUREOFCHINESEPAINTINGAGAINSTTHEMACROCULTURALBACKGROUNDOFTHEPRESENTAGEINTHECONTEXTOFREALITYBUDDHISM，TANISMANDCONFUCIANISMBYWHICHCHINESEPAINTING，ASASPECIALCULTURALPHENOMENONINTHEWODDCIVILIZATION，HASBEENNURTBREDANDWHICHITCARRIESASTRADITIONS，HAVELOSTTHEIRSIGNIFICANTINFLUENCEONPAINTINGANDTHETRADITIONALSCHOLARLYPAINTINGHASBECOMEFETTERSONTHECONTEMPORARYCHINESEPAINTINGHENCE，THECONCERNOVERTHEITSDEVELOPMENTALORIENTATIONHASGROWNEVENTENSETHE‘NATIONALCHARACTER’WASEMPHASIZEDBYTHEASSERTIONTHAT“ITWOULDBEBETTERTOCLINGTOTHEOUTWORNIDEASTHANTOADOPTABSURDNOTIONS”O(jiān)BVIOUSLYTHISSTATEMENTCARRIESTHESIGNIFICANCEOFWAR曲培ANDENLIGHTENMENT，ESPECIALLYINTHEMULTIVARIATEORDISORDERLYANDRANDOMSETUPOFTHEARTISTICWORLDITMAYERVESASONEOFTHECHANNELSTHROUGHWHICHTRADITIONALCHINESECULTUREISCARRIEDONHOWEVERINTHECHINESEPAINTINGHISTORYDOUBTANDDENIALOFTRADITIONALCULTUREAFFECTEDTHECOURSETHATCHINESEPAINTINGWOULDFOLLOWTHISPAPERCONFIRMSHUANGBINHONG’SVIEWOF‘‘NATIONALCHARACTERINPAINTING’ANDVERIFIESTHETHEORETICALANDPRACTICALSIGNIFICANCEOFMAINTAININGTHECHARACTERBYEXAMININGHISTHEORIESANDARTISTICPRACTICEANDANALYZINGTHERELATIONSHIPSBETWEENTHEEPOCHALCHARACTEROFPAINTINGANDITSNATIONALCHARACTERAGAINSTTHEHISTORICALANDCULTURALBACKGROUNDKEYWORDCHINESEPAINING；TRADITIONALCHINESECULTURE；NATIONALCHARACTER；EPOCHALCHARACTER；HUANGBINHONG

簡介：中國美術(shù)學(xué)院碩士學(xué)位論文“會(huì)跳舞的方格子”從蒙德里安繪畫的抽象因素看藝術(shù)姓名施曉弘申請學(xué)位級(jí)別碩士專業(yè)油畫指導(dǎo)教師張堅(jiān)井士劍20060629中國美術(shù)學(xué)院油畫系施曉弘。會(huì)跳舞的方格子”從蒙德里安繪畫的抽象因素看藝術(shù)ABSTRACTPAINTINGELEMENTSSUCHASCOLORANDPHYSIQUEETCALWAYSASMEANSANDMEDIAOFCONSTRUCTINGUNREALIMAGEONTHETABLEAUAMONGTHEWESTERNTRADITIONALART，HADN’TONESELFINDEPENDENTMEANINGUNTILABSTRACTARTORNONOBJECTIVEPAINTINGCAMEINTOBEING，PAINTINGELEMENTSCHANGEDINTOTHEMAINSTRUCTUREOFTHETABLEAUANDHADONESELFINDEPENDENTVISUALEFFECTANDMEANINGMONDRIANWASAGREATABSTRACTARTISTSTHISTHESISBYMEANSOFCOMPARINGHISABSTRACTPAINTINGS’DIFFERENCESONTHEVISUALEFFECTANDTHECREATIONCOURSE，F(xiàn)URTHERANALYZETHEIRTHEORYONABSTRACTPAINTINGTOEXPOUNDTHESIMILARITIESANDDIFFERENCESINTHEIRSEEKINGTHEINDEPENDENTMEANINGOFPAINTINGELEMENTSMONDRIANFROMTHEVIEWPOINTOFSUBJECTIVEEMOTION，REGARDEDEMOTIONASTHEMAINCOMPOSITIONPRINCIPLEOFABSTRACTPAINTING，ANDGAVEINTRINSICCHARACTERISTICOFEXPRESSINGEMOTIONINTOPAINTINGELEMEMS；ANOTHERFROMTHEANGLEOFPUREPLASTICISMREMOVEDEXPRESSIONISM，ANDEXPLOREDOUTGENERALESSENCEFROMTHESPECIFICPAINTINGELEMENT，WHICHREFLECTINGTHEINTROSPECTIONOFPUREESSENCEOFARTANDCOMMONEXPECTOFESTABLISHINGINDIVIDUAL’SUNIQUETHOUGHTOFUNIVERSEANDLIFEASGENERALVALUETHEREFOREITISDRAWTHECONCLUSIONMONDRIANPAIDMOREATTENTIONTOTHEVALUEOFABSTRACTPAINTINGELEMENTS，ANDSOUGHTINDEPENDENTMEANINGSOFPAINTINGELEMENTSFROMDIFFERENTANGLEITWASNOTONLYTHECHANGEOFTHESTYLEOFVISION，BUTALSODEEPERCHANGEOFARTIDEAANDATTITUDETOWARDSLIFEHIDDENATTHERELATIONSHIPBETWEENPHYSIQUEANDCOLORTHEIRARTTHEORYREPRESENTEDCOMMONATTITUDETOWARDSARTOF

簡介：廣西師范大學(xué)碩士學(xué)位論文穿行于人生與藝術(shù)創(chuàng)造的維度徐渭繪畫藝術(shù)探析姓名劉潯申請學(xué)位級(jí)別碩士專業(yè)美學(xué)指導(dǎo)教師廖國偉20070401II理外化于花鳥水墨世界而成為其自戀的表達(dá)，而這孤芳自賞似的表達(dá)恰似徐渭在沒落的封建桎梏下高聲吟嘯而成的人生戀歌，穿越時(shí)空縈繞在今人的耳畔。最后，我們站在人類文化的高度來觀照徐渭文人畫乃至中國文人畫的文化內(nèi)涵，挖掘出中國畫家們藝術(shù)生命的秘密和不失普遍意義的藝術(shù)規(guī)律，揭示徐渭對于中國文人畫發(fā)展由古典型向現(xiàn)代性轉(zhuǎn)型的歷史性意義。傳統(tǒng)文人畫深受孔儒和莊老等傳統(tǒng)文化的影響，呈現(xiàn)平淡幽遠(yuǎn)遁世的平和氣象，因而成為傳統(tǒng)士人在正業(yè)之余靈魂憩息的后花園，而徐渭的出現(xiàn)使傳統(tǒng)文人畫發(fā)生了重大的轉(zhuǎn)變，主體的覺醒使文人畫由“無我之境”走向了“有我之境”，實(shí)現(xiàn)了主體精神的高揚(yáng)而具有一定程度上的現(xiàn)代性。本文從晚明的文化生態(tài)談起，最終回歸于文人畫的文化觀照，如此逐層解讀徐渭和徐渭的繪畫藝術(shù)之后，我們可以說，穿行于人生與藝術(shù)創(chuàng)造的維度，徐渭踉蹌的腳步雖一直未走出其人生的困惑，卻踏上了藝術(shù)的康莊大道。他以坎坷的人生經(jīng)歷熔鑄于其獨(dú)特面貌的繪畫藝術(shù)中，包括繪畫在內(nèi)的多種藝術(shù)成就豐富了他的人生，終將其名字載入史冊，成為“傳統(tǒng)畫學(xué)中轉(zhuǎn)捩時(shí)期的關(guān)鍵性人物”。由他開創(chuàng)的大寫意文人畫風(fēng)有著深刻的自覺意義和博大的思想內(nèi)涵，對現(xiàn)當(dāng)代中國畫尤其是新文人畫的發(fā)展有重要的啟示意義。關(guān)鍵詞徐渭繪畫藝術(shù)美學(xué)解讀創(chuàng)作心理文化觀照

簡介：東北師范大學(xué)碩士學(xué)位論文“符號(hào)”的力量視覺符號(hào)在具象繪畫中的指涉與表達(dá)姓名王大鵬申請學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師樸承浩20090501ABSTRACTHAVEALLELEPHANTPAINTINGAWORKINOFTHESENSEOFVISIONSIGNBELIKELANGUAGESIGNSIMILARINCLUDECANPOINT，POINT，MEANTTOBEPROCESSETCBEONEWHOLESETOFSYSTEMWHENTHEARTISTREFERSTOTHECREATIONSOFITSHEARTUNSEENANOUTSIDETOCHANGEINTOAPPEARANCE，THESENSEOFVISIONSIGNOFAPPEARANCEALSOPRODUCEDUSAGEANDRESEARCHOFSENSEOFVISIONSIGNPRESENTTODAYOFDIVERSIFICATIONANDCHARACTERISTICCHARACTERISTICINTHEELEPHANTPAINTING，TOTHESENSEOFVISIONSIGNINTHEAPPEARANCEOFCANPOINTTOOUTSIDETURNARESEARCHOFPRESENTTHECHARACTERISTICSTOTHECORPUSSPIRITWITHRELATIONANDSENSEOFVISIONSIGNPOINTISNECESSARYTHESPIRITDIRECTIONOFTHESENSEOFVISIONSIGNINTHEPAINTINGWORKLIEINAUTHORASTOIT’STHESENSEOFVISIONSIGNINTHEPAINTINGWORKOFCANPO血WITHPOINTOFAPPOINTED，WITHCANPOINTWITHPOINTTO”REACTION”MUTUALLYOFMEANTTOBEPROCESSINTHEEYESOFTHEPAINTINGCREATOR，THEKEYPROBLEMOFTHESENSEOFVISIONSIGNINTHEPROCESSINGAPPEARANCELIESINTHECOMPREHENSIVECONFIDENCEOFTHEFORMANDCONTENTSWHICHMATCHESTOTHESENSEOFVISIONBEALSOSAY，THEPROCESSOFPAINTINGCREATIONSISACTUALLYTHECONSTRUCTIONORPURCHASETHATTHECREATORPASSESTOTHESENSEOFVISIONSIGNINTHEAPPEARANCE，MAKEUSEOFSENSEOFVISIONSIGNTHECHARACTERISTICSOF也EONESELFANDCONVERTTHEPROCESSOFPAINTINGCREATIONSISTHEPROCESSTHATTHEARTIST’SSPIRITCONVERTANDTHEPAINTINGWORKISTHEARTIST’SSPIRITTOOUTSIDETURNPAINTINGWORKINTEGRITYOFOFTHEFORMATIONLIEINARTIST’SSPITITTOOUTSIDETURNOFINFORM，ISTHECREATIONOFSENSEOFVISIONSIGNWITHRECEIVEOFPROCESSTHISISALSOTHEPLACEOFSPIRITSTRENGTHOFSENSEOFVISIONSIGNINTHEPAINTINGWORKTWO，CONSTITUTETOOFROMTHESENSEOFVISIONSIGNFORSPIRITSTRENGTHBUTSPEECHOFPAINTINGWORKOFINTHEARTSIGNOFPAINTINGWORK”ECOSYSTEMOFTHESENSEOFVISIONSIGNHASYESTHESTRONGCORPUSREALIZEOFSUBJECTIVECONSTRUCTIONORPURCHASEKEYWORDSSENSEOFVISIONSIGN；ARTSIGN；LANGUAGESIGN；CANPOINT；ARBITRARILYSEX；MEANTTOBEPROCESS；THESPIRITOUTSIDETURNS；REFERTO；APPEARANCEⅡ

簡介：河北師范大學(xué)碩士學(xué)位論文有關(guān)再現(xiàn)性繪畫造型的情節(jié)性問題研究姓名彭永清申請學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師徐福厚20090912氣質(zhì)和追求，并以各自獨(dú)特的形式呈現(xiàn)出來。從而，那些輝宏的藝術(shù)成就既向我們展現(xiàn)了他們生命中曾經(jīng)的精彩。同時(shí)更給與今天的我們以啟迪。時(shí)代性和民族性無疑是他們藝術(shù)的陽光和土壤。因此，創(chuàng)造負(fù)有時(shí)代精神和民族情感特色的藝術(shù)作品才是創(chuàng)作者真正的責(zé)任。也才是藝術(shù)創(chuàng)作的真正價(jià)值和意義所在。關(guān)鍵詞情節(jié)邏輯總體語言構(gòu)成因素矛盾分析層級(jí)結(jié)構(gòu)情節(jié)意味IV

簡介：東北師范大學(xué)碩士學(xué)位論文論中西繪畫的多維性“空間表現(xiàn)”及其當(dāng)代發(fā)展姓名馬林蘭申請學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師張連貴20040501ABSTRACTTHE“SPACEREPRESENT“OFBRUSHWORKISONEOFTHEMOSTIMPORTANTISSUEINTHEARTCREATINGANDARTTHEORYRESEARCHINGBRUSHWORKISAKINDOFTHEORIGINALITYTHATARTISTUNDERSTANDSANDHOLDSTHEEXISTINGOFTHE“SPACEMATER“THEARTISTUSESMULTIDIMENSIONALSKILLSTOREPRODUCTIONTHE“SPACEMATER“,BASEDONTHEIDIOGRAPHICVISIONOBJECTANDINDIVIDUATIONTASTEMENTALITYTHEDISCUSSIONONMULTIDIMENSIONALSPACEINTHISPAPERCANDEEPENTHEUNDERSTANDINGOFSPACE,CREATERATIONALITYSPACEIDEAANDBRINGUPARTPRODUCTABILITYFROMTHEVIEWOF“SPACEREPRESENT“OFBRUSHWORK,THISPAPERUNDERSTANDSANDRETHINKSTHEARTTRADITIONOFCHINAANWESTBRUSHWORK,ANALYSESTHEDIFERENTBETWEENCHINATRADITIONALBRUSHWORKANDWESTMODERNBRUSHWORKTOSYNCRETIZETHEDIFERENTSPACEIDEA,TASTEFORMANDARTISTICCONCEPTION,THISPAPERCOMPARESTHETHEORYANDPRACTICEOFCHINAANDWESTBRUSHWORKTHEPURPOSEISTODEVELOPTHETASTEVIEWANDREPRESENTMODEOFCHINABRUSHWORKKEYWORDSTHESPACEINBRUSHWORKMULTIDIMENSIONALSPACEREPRESENTSPACEIDEA

簡介：上海師范大學(xué)碩士學(xué)位論文宣和畫譜繪畫美學(xué)思想研究姓名吳新榮申請學(xué)位級(jí)別碩士專業(yè)中國花鳥畫指導(dǎo)教師張淳20090402ABSTRACTXUANHEHUAPUWHICHISWROTEINXUANHEPERIODISTHEEARLIESTBOOKABOUTDRAWINGTHISBOOK，WHICHISRICHANDCOMPLETEINITSCONTENTS，ATTRACTEDTHEATTENTIONSFROMZHAOJI，ANEMPERORINSONGDYNASTYNOWADAYS，THEAESTHETICIDEASPROPOSEDINTHEBOOKHAVENOTATTRACTEDMUCHCONCERNSSOMEPEOPLEHAVENOTFOUNDITSSIGNIFICANCEANDTHEPROFOUNDANDCOMPLICATEDAESTHETICIDEASANDEVENDEVALUEDITHOWEVER，THEWRITEROFTHETHESISMAKESSENSEOFITSAESTHETICMEANINGSANDDRAWSTHEVALUESFROMREADINGSTHEAESTHETICMEANINGINTHEBOOKISTHENEWPOINTFORTHESTUDY，ANDTHEUNDERSTANDINGSONITAREOFDIVERSITYTHETHESISSUMMARIZESANDENRICHTHEAESTHETICIDEASINPAINTINGTHROUGHANALYZINGTHEBOOKTHEAESTHETICIDEASINTHEBOOKWILLBEEXPOUNDEDFROMSUCHASPECTSASCHARACTERSANDPAINTINGS，THEDELINEATIONOFBODYANDTHEEXPRESSIONOFMIND，THEOBJECTIVEDESCRIPTIONOFENVIRONMENTANDTHEFLOWOFSPONTANEOUSFEELINGS，INHERITAGEANDINNOVATION，THETALENTSANDEFFORTS，LITERATUREANDPAINTINGS，CALLIGRAPHYANDPAINTINGSXUANHEHUAPUMAKESFURTHERREQUIREMENTONTHEEXPRESSIONOFMINDMOREOVER，MANYDETAILEDANDPROFOUNDVIEWSAREPUTFORWARDINTHEBOOK，F(xiàn)OREXAMPLE，WHATSHOULDBEDONEINTHEPAINTINGSANDCREATIONTHEDEMANDOFTHEROLETHATTHESUBJECTIVEMINDPLAYSINPAINTINGISALSOSUGGESTEDINTHEBOOK，SUCHASTHEDEMANDONTHEWRITERS’VIRTUES，GIFTSANDTHEIRDILIGENCETHEFURTHERDISCUSSIONISFOCUSEDONTHETECHNIQUESOFPAINTING，SUCHASTHESKILLSINUSINGPENANDINK，THEARRANGEMENTOFTHESEATSASFORTHEINHERITANCES，THEBOOKEMPHASIZESTHEINHERITAGEANDINNOVATIONTHEREARESTILLALOTTODISCUSSABOUTTHEAESTHETICIDEASINXUANHEHUAPUAFTERROUGHEXPLORATIONTHEBIOGRAPHIESOFTHEWRITERS1ISTEDINTHEBOOKWERECOPIEDFROMOTHERBOOKS，SOTHEREARESEVERALMISTAKESHOWEVER，THEAESTHETICIDEASCONVEYEDINITARESTILLINFLUENTIALKEYWORDSXUANHEHUAPU，AESTHETICIDEAS，AESTHETICIDEASINPAINTING2

簡介：河南大學(xué)碩士學(xué)位論文宗教精神與繪畫風(fēng)格以“被釘十字架上的基督”為例姓名王慧軍申請學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師黃瑞欣20100501河南大學(xué)藝術(shù)學(xué)院研究生碩士學(xué)位論文深入的研究、探討，并且用來為藝術(shù)創(chuàng)作提供精神內(nèi)涵，為藝術(shù)創(chuàng)作注入新的生命活力，這也是在當(dāng)下重新審視宗教精神的價(jià)值所在。本文運(yùn)用理論分析、舉例論證和綜合對比的方法，試圖從以下五個(gè)方面闡釋被釘十字架的基督圖像是如何呈現(xiàn)出鮮明的時(shí)代性和風(fēng)格特征，以及宗教精神對繪畫風(fēng)格的影響的。第一部分闡述宗教精神與繪畫風(fēng)格的關(guān)系。首先是對本文中宗教精神的內(nèi)涵做出界定；其次論述藝術(shù)與宗教的關(guān)系及其研究現(xiàn)狀。第二部分論述中世紀(jì)神性至上的“十字架上的基督“。首先論述了基督教及其教義和神學(xué)的發(fā)展；然后通過“十字架上的基督“論述繪畫是基督教廣泛傳播的重要途徑。第三部分論述文藝復(fù)興至19世紀(jì)由天國走向人間的“十字架上的基督“。首先論述宗教信仰逐漸衰退對繪畫的影響分別從五個(gè)階段來分析對比“十字架上的基督“；其次闡述了基督教復(fù)興與擴(kuò)張下的基督教美術(shù)。第四部分論述20世紀(jì)以來世俗化環(huán)境下關(guān)注人性的“十字架上的基督”。首先分析了全球化語境下的基督教；然后對現(xiàn)當(dāng)代風(fēng)格多元的“十字架上的基督“進(jìn)行分析對比。最后對宗教精神與十字架上的基督繪畫風(fēng)格的演變對比，分析并得出以下幾點(diǎn)結(jié)論一、“十字架上的基督’’具有鮮明的時(shí)代性；二、“十字架上的基督“圖像表現(xiàn)出明顯的從神性到人性轉(zhuǎn)化的特征；三、“十字架上的耶穌“呈現(xiàn)出眾多不同的表現(xiàn)方式；四、不同時(shí)期基督形象及圖式的變化各具特色。從這些變化當(dāng)中我們可以看出“被釘十字架上的基督“具有鮮明的時(shí)代性和風(fēng)格特征。關(guān)鍵詞基督教；十字架上的基督；宗教精神；繪畫風(fēng)格；時(shí)代性Ⅱ

簡介：分類號(hào)號(hào)J2J2密級(jí)級(jí)公開公開論文編號(hào)論文編號(hào)Z13150Z13150學(xué)號(hào)201201312015020150碩士碩士專業(yè)專業(yè)學(xué)位論文學(xué)位論文論當(dāng)代繪畫及攝影中論當(dāng)代繪畫及攝影中的顯示屏經(jīng)驗(yàn)的顯示屏經(jīng)驗(yàn)研究生江夏然江夏然指導(dǎo)教師師陳樹中陳樹中教授教授專業(yè)領(lǐng)域油畫藝術(shù)油畫藝術(shù)研究方向向當(dāng)代繪畫研究當(dāng)代繪畫研究論文完成時(shí)間論文完成時(shí)間2012016年5月2525日論文答辯日期論文答辯日期2012016年6月7日研究生江夏然江夏然學(xué)位論文原學(xué)位論文原創(chuàng)性聲明創(chuàng)性聲明本人鄭重聲明所呈交的學(xué)位論文論當(dāng)代攝影及創(chuàng)作中的顯示屏經(jīng)驗(yàn)是本人在導(dǎo)師指導(dǎo)下進(jìn)行的研究工作及取得的研究成果。除了文中特別加以標(biāo)注和致謝的地方外，本論文中不包含其他個(gè)人或集體已經(jīng)發(fā)表或撰寫過的研究成果，也不包含為獲得四川美術(shù)學(xué)院四川美術(shù)學(xué)院或其他教育機(jī)構(gòu)的學(xué)位或證書而使用過的成果。與我一同工作的同志對本研究所做的任何貢獻(xiàn)均已在文中作了明確的標(biāo)識(shí)并表示謝意。本人完全意識(shí)到本聲明的法律后果由本人承擔(dān)。作者簽名日期年月日學(xué)位論文版權(quán)使用授權(quán)書學(xué)位論文版權(quán)使用授權(quán)書本學(xué)位論文論當(dāng)代攝影及創(chuàng)作中的顯示屏經(jīng)驗(yàn)作者完全了解四川美術(shù)學(xué)院四川美術(shù)學(xué)院有關(guān)保留、使用學(xué)位論文的規(guī)定，四川美術(shù)學(xué)院有權(quán)保留并向國家有關(guān)部門或機(jī)構(gòu)送交本學(xué)位論文的復(fù)印件和電子版，允許本學(xué)位論文被查閱和借閱。本人授權(quán)四川美術(shù)學(xué)院四川美術(shù)學(xué)院可以將本學(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、縮印或掃描等復(fù)制手段保存、匯編本學(xué)位論文，可以通過網(wǎng)絡(luò)向社會(huì)公眾提供信息服務(wù)。學(xué)位論文作者簽名日期年月日導(dǎo)師簽名日期年月日

簡介：I學(xué)校代碼10270分類號(hào)學(xué)號(hào)132502353碩士專業(yè)學(xué)位論文城市題材繪畫的探索與嘗試城市題材繪畫的探索與嘗試專業(yè)學(xué)位類別藝術(shù)碩士專業(yè)領(lǐng)域美術(shù)作者姓名徐喬健指導(dǎo)教師侯偉答辯日期上海師范大學(xué)碩士學(xué)位論文英文摘要IIABSTRACTINTHEPERIODOFTHERAPIDDEVELOPMENTOURMODERNCITYHASUNDERGONETHETRANSFMATIONFROMTHEAGRICULTURALSOCIETYTOMODERNURBANONEFROMTHEAGRICULTURALCULTURETOMODERNURBANCULTURETHECREATIONOFTHEPAINTINGSUBJECTONTHECITYISEMERGINGWHICHHASTHELARGEDEVELOPMENTSPACEAGAINSTTHECREATIONBACKGROUNDOFTHECITYWHERETHEWRITERISLIVINGHEFINDSOUTTHECOLBRIGHTNESSCAUSEDBYTHEFASTPACEINTHECITYLIFETHEDELICACYFROMTHEMATTERSTHESURROUNDINGSINTHEMODERNSOCIETYLIFEINTHEPROCESSOFTHECREATIONEXPLATIONFURTHERMETHEEXPRESSIONFCEFROMTHEAMERICANIMPRESSIONISMFTHECITYLIFETHEACCURATEEXPRESSIONFROMTHELATECLASSICALACADEMISMFTHEFMPAINTINGHASINFLUENCEDENLIGHTENEDTHEWRITERWHODEVOTESHIMSELFTOEXPLINGTHEWAYTHATCOMBINEDTOGETHERMAKINGPAINTINGCREATIONONTHECITYSUBJECTBYUSINGTHECONCRETEPICTURELANGUAGETHEINDIVIDUALARTVIEWSTYLESFROMTHEPERSPECTIVEOFSPACEPICTURECOMPOSITIONPAINTINGOURLIFESOASTOREFLECTOURERATHEINSPIRATIONFTHEESSENCEOFTHEURBANSPIRITKEYWDSCITYSUBJECTAMERICANIMPRESSIONISMLATECLASSICALACADEMISMSPACEPERSPECTIVE

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簡介：STUDYONTHEMONTAGE’SEXPRESSIONANDUSINGINIMAGEEXPRESSIONISM蒙太奇在意象表現(xiàn)主義繪畫中的表現(xiàn)與運(yùn)用學(xué)生姓名王朱珠STUDENT’SNAMEWANGZHUZHU學(xué)位專業(yè)藝術(shù)碩士DISCIPLINESFINEARTS申請學(xué)位類別和級(jí)別全日制專業(yè)碩士學(xué)位，2013級(jí)TOAPPLYFORGRADUATECLASSESANDLEVELSAPPLICATIONOFFULLTIMEPROFESSIONALMASTER’SDEGREEIN2013學(xué)位類別藝術(shù)碩士GRADUATECATEGORYMASTEROFFINEARTS學(xué)位授予單位浙江師范大學(xué)DEGREEGRANTINGUNITSZHEJIANGNORMALUNIVERSITY指導(dǎo)教師侯吉明DISSERTATIONSUPERVISORHOUJIMING提交日期2016年3月25日DATESUBMITTED2016325STUDYTHEMONTJAGE’SEXPRESSIONANDUSINGINIⅣ隊(duì)GINEEXPI之ESSIONISMABSTRUCTINNINETEENTHCENTURYTHESTYLEOFFILMARTBECOMINGMOREDIVERSIFYMONTAGE，ASASPECIALFILMMAKINGSTRATEGYAPPEARSTOBEAVITALMILESTONEINTHEFILMHISTORYHOWEVER，ASANESSENTIALFILMMAKINGTECHNIQUE，MONTAGEPLAYSANIMPORTANTROLEINTHEFIELDOFARTCURRENTLY，DIFFERENTARTISTICFIELDS’BOUNDARIESBECOMEBLURREDSOWECANFINDSOMECONNECTIONSINDIFFERENTARTAREASFOREXAMPLE，MONTAGEASAUNIQUEFILMMAKINGSTYLE，WHICHHASBEENWIDELYAPPLIEDINTOPOETRYPHOTOGRAPHY，ANDADVERTISINGMEDIAFIELDSINADDITION，THEDEVELOPMENTOFPAINTINGANDFILMINGARECLOSECONNECTEDEISENSTEINBELIEVESTHATMONTAGEEXISTSEVERYWHEREINARTANDDAILYLIFEFURTHERMORE，MONTAGEISNOTONLYASKILL，BUTALSOACONCEPTIONONTHEIMAGERYEXPRESSIONISMPAINTING，IMAGERY”DRAWWHATYOUSEEOFTHEOBJECT，EXPRESSYOURINNERFEELINGFROMIT”THECHARACTERISTICOFIMAGEEXPRESSIONISBETWEENSPECIFICATIONANDABSTRACT，INTEGRATINGTHEWORDSOFARTANDCREATINGTHEWORDSOFTHEIMAGEEXPRESSIONISMITHASSOMEPOTENTIALSIMILARITIESWITHMONTAGEINOTHERWORDS，THEEASTERNIMAGEANDWESTEMMONTAGEHAVEGREATCOHERENCEWITHEACHOTHERTHISESSAYDESCRIBESTHERELATIONSHIPBETWEENMONTAGEANDPAINTINGEXTENDEDFROMTHESPECIFICATIONOFMONTAGECONCEPT，ANDTHESIMILARITIESBETWEENMONTAGEANDTHEIMAGEEXPRESSIONTHENTHEEXPRESSIONANDAPPLICATIONOFMONTAGEISPRESENTEDONTHEIMAGEEXPRESSIONISMINTHISESSAYKEYWORDSMONTAGE；MONTAGESTRATEGY；MONTAGECONCEPTION；APPLICATION；IMAGE；IMAGEEXPRESSIONISM；EXPRESSIONⅡ