簡介：內(nèi)蒙古師范大學(xué)碩士學(xué)位論文丹青大漠、魂落草原包世學(xué)先生繪畫創(chuàng)作解讀姓名格日樂圖申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師張峻德20070605ABSTRACTMRBAOSHIXUEWASDEVOTEDTOARTHALFACENTURYAGOHEGRADUATEDFROMTHEARTDEPARTMENTOFINNERMONGOLIANORMALUNIVERSITYIN1950S，ANDBEGANTOWORKINTHEGREATGRASSLANDOFXILINGUOLEIN1960S，HEAROUSEDGREATATTENTIONOFANFIELDINCHINAWITHTHEWORKSOF“SPRINGOFGRASSLAND““COMINGFROMBEIJING’INHISLONGCAREEROFTARYYEARS，HEINFLUENCEDGENERATIONSOFPEOPLEWITHHISINDIVIDUALSTYLEOFBRUSHWORKTHISARTICLETRIESTOANALYZEBAO’SCAREERINTHREEASPECTSFIRSTLYTRACINGTHEDEVELOPMENTOFHISARTISTICSTYLESECONDLYTHEINFLUENCEOFBAN’SEXPRESSIONONARTCIRCLESININNERMONGOLIATHIRDLYDECODINGTHESTRUCTUREOFHISPAINTINGKEYWORDSBAO’SINDIVIDUALSTYLEOFBRUSHWORKARTISTICSTYLE，INFLUENCE，TRUCTUREOFPAINTINGS

簡介：馨艿，『2OFI、R801201F901720學(xué)校代6日10209一～～～分類號J206研究生學(xué)號2002014密級去批蓼彬垮院JILINCOLLEGEOFTHEARTS碩士學(xué)位論文MASTERDEGREETHESIS對繪畫造型幾個觀念問題的研究作者邰浩然指導(dǎo)教9幣任傳文教授學(xué)科專業(yè)美術(shù)學(xué)研完方向造型基礎(chǔ)研究吉林藝術(shù)學(xué)院學(xué)位評定委員會2005年6月翌竺墮絲型些塵翌壘塑璧塑翌塞ABSTRACTDURINGMYGRADUATESTUDY，1FELTTHEBIGCHARMOFPAINTINGPLASTICARTANDITHASCHANGEDGREATLYINTHEDEVELOPMENTOFMODEMANDCONTEMPORARYARTWHICHRAISEMYBIGINTERESTTOEXPLOREANDUNDERSTANDTHEANTINOMY，DIFFERENCEANDDEVELOPMENT．THEIMPORTANTCONTENTSANDCLUESINEACHCHAPTERARETHEDISAPPEARANCEOFTOPIC，TRACINGOFPAINTING，MEANINGFULFORM，EXPRESSIONOFPAINTINGANDTHEEXPLOSIONTOTHETRUEMEANINGOFART，PAINTINGPLASTICARTISTORESEARCHEXISTENTOBJECTS．THERESEARCHONARTBASEDONTHEMATERIALLAY．IMADETHEFIRSTFOURPARTSAS“THINKINGONSPIRITLAY”，ANDTHELASTTHREEPARTSAS“THINKINGONMATERIALLAY”O(jiān)FPAINTINGPLASTIC．THISPAPEREMPHASIZESONTHEINFLUENCEOFIDEAONART，PAINTINGTHEIDEAISEXTENDINGBYART．ITSINCREDIBLEIFWESEPARATETHESETWO．SOIFEELPAINTINGPLASTICARTISTOEXPRESSWHATTHEARTISTSSEEINMINDANDTHEMEETOFSPIRITANDFEELING，ISNATURALFLOWINGOFLIFETRACEINTHEGREATUNIVERSE，ANDLIFELONGSERLEOFARTIST’SHEARTEXPERIENCE．KEYWORDSFEELINGEXPRESSIONPLASTICTRACING2THEDISAPPEARANCEOFTOPICMEANINGFULFORM

簡介：南京藝術(shù)學(xué)院碩士學(xué)位論文中國繪畫批評在宋代的新發(fā)展姓名李天慈申請學(xué)位級別碩士專業(yè)藝術(shù)批評指導(dǎo)教師樊波20080520【ABSTRACTLTHECRITIQUETHEORYOFPAINTINGOFSONGDYNASTYWHETHERITSCOMPLETENESSOFCLASSIFICATION，THEINTACTOFTHESYSTEMORDEEPNESSOFTHEPOINTOFVIEWWHICHCANBERECOGNIZEDASTHEMODELCASEOFTHECRITIQUEHISTORYOFCHINESEPAINTINGTHESONGDYNASTYHADTAKENOVERTHECRITIQUETHEORYOFPAINTINGOFTHESOUTHNORTHDYNASTIESTOSUIANDTANGDYNASTIES，WHICHHADUNIFIEDTOANEWONEANDHADNEWDEVELOPMENTTHEPAINTINGCLASSIFICATIONOFSONGDYNASTYFORMEDTHESITUATIONWITHTHREECONTENDERSWHICHINCLUDEFIGURE，LANDSCAPEANDFLOWERANDBIRD，BECAUSEOFTHETHRIVEOFTHELANDSCAPEANDFLOWERANDBIRDPAINTINGSO，ITGIVESRISETOTHEDEVELOPMENTOFTHEFORMOFTHECRITIQUEOFSONGDYNASTYPAINTINGFROMVALUEJUDGMENTTOCLASSIFICATIONWHILETHECIVILESTEEMEDSOCIETYENVIRONMENTSOFSONGDYNASTYMADEASERIESOFCHANGESOVERTHEAPPRECIATIONOFTHEBEAUTYOFTHEPAINTINGCRITICIZERTHENEWCONFUCIANISMANDZENTHENBECOMETHETWOIMPORTANTTHEORIESOFTHECIRTIQUEOFSONGDYNASTYPAINTINGATTHESAMETIME，TWOARTOPTIONSOFPOETRYEXPRESSANDONE’SINNERTRANQUIFITYSHOWEDCLEARLYINRESPECTOFTHESTANDARDSOFPAINTINGCRITIQUE，THECRITICIZEROFSONGDYNASTYPAINTINGBEGANTOEMPHASIZETHESTANDARDSOF“REAL“，‘‘LEISURE’’AND‘‘PERSONALITY’’TEQUESTANDRULETHEPAINTINGANDCRITICIZEDTHEDISADVANTAGESOFTHEPAINTINGTHESEMADESOMEPROFOUNDINFLUENCESTOTHEWORKSOFTHELATTERPAINTINGSANDTHECRITIQUEOFPAINTINGSTHISTHESISMADEADETAILEDDEMONSTRATIONONTHEABOVMENTIONEDASPECTS，WHICHISHOPETOMAKEADEEPGRASPTOTHECRITIQUEOFPAINTINGSINMORDENTIMES，THROUGHTHEANALYSISANDRESEARCHOFTHECRITIQUETHEORYOFPAINTINGOFSONGDYNASTY【KEYWORDS】THECRITIQUEOFSONGDYNASTYPAINTING，THEFORMOFCRITIQUE，THECRITICIZER，THESTANDARDSOFCRITIQUE，NEWDEVELOPMENT

簡介：首都師范大學(xué)碩士學(xué)位論文走向自由對坦培拉繪畫技法形式發(fā)展的思考姓名郝峻嶺申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師劉孔喜20080520ABSTRACTTEMPERAARTISONEVERYIMPORTANTANDFARREACHINGPICTUREKINDOFTRADITIONALPAINTINGFRANKLYOFEOURPE，ITISMATERIALANDSYSTEMOFINDEPENDENTSKILLANDTECHNIQUEWHICHISDIFFERENTFROMGLUEDECORATIVEPAINTING,CANVASANDMODEMPROPYLENETOO．ITPROBABLYEVOLVESFROMBYZANTINEOFTHESIXTHCENTURY，PROBABLYINTHE13THCENTURY，F(xiàn)LORENCEPAINTERCONTRACTHORSE．RIDESTEPANGSTROMPROPAGATESTHISKINDOFSKILLANDTECHNIQUETOITALY．BYRENAISSANCEPERIOD，HASFORMEDANDBANKEDUPAPEAKWHICHDRAWSTHEGRAPHICSARTWITHEARTHFRANKLY,EMERGEFRANCISCA,WAVEWITHDRAW,CUTPROFIT,ETC．TOBENUMEROUSTOBANKUPWITHEARTH,DRAWPAINTINGMASTERFRANKLY．THE15THCENTURYLATER,BECAUSETHECANVASMATERIALISUSEDINDEPENDENTLYGRADUALLY，BANKUPTHELEADINGPOSITIONOFDRAWINGPAINTINGANDWITHDRAWINGFROMTHEPAINTINGCIRCLESWITHEARTHFRANKLY,MOVETOWARDSTHEEDGE．TEMPERAANDDRAWTHEUPSANDDOWNSGONETHROUGHINTHEPAINTINGLONGRIVEROFEUROPEFORMORETHAN1,000YEARSINPAINTINGFRANKLY，DURINGTHISLONGYEARS,BECAUSECHUSUCHASDEVELOPMENT,PROGRESSOFSCIENCEANDTECHNOLOGY，ANDCHANGEOFPEOPLE’SAESTHETICNEEDOFTHETIMESAREMULTIFACTOR,BANKUPWITHEARTH,DRAWPAINRINGSKILLANDTECHNIQUETAKEPLACEHEAVYCHANGEVERY，PAINTINGFORMTENDANDSYNTHESIZEDAYBYDAYFRANKLY，THEPAINTINGMEANSBEGINSPROGRESSIVELYTOBEABUNDANT,PAINTINGDISPLAYSANDEMPHASIZESTHEINDIVIDUALCHARACTERFURTHERTOO．刀豫SECHANGES,ITISCONVENIENTTOBANKUPTHECREATIONWHICHDRAWSPAINTING塒MEARTHFRANKLYGREATLY，LETITMEETTHEDEVELOPMENTOFTHETIMESANDPEOPLE’SDEMANDFURTHER．MAKE，TEMPERA，DRAWPAINTINGTHESEOLDGRAPHICSARTCANCONTINUEPASSINGON,DEVELOPFRANKLY．TOBANKUPWITHEARTH,DRAWPAINTINGSKILLANDTECHNIQUESYSTEMTHISDEVELOPMENTANDDEVELOPMENTCREATE,CARRVONSYSTEMANDOVERALLRESEARCHINPAINTINGFRANKLYTHISTEXT,WHATHASGONEONTOTHISSUBIECTMATTERISEXCAVATEDANDEXPANDEDFURTHEFLYEMPHATICALLY，THUSABUNDANTANDGUIDINGONE’SOWNSPECIALIZEDCREATION．KEYWORDTEMPERASKI11ANDTECHNIQUEDEVELOPMENTFREEDOMDEVE1OPMENTⅢ

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簡介：V11211070分類弓【J1【二密級學(xué)號塑南京藝術(shù)學(xué)院碩士學(xué)位論文論繪畫作品中有意味的“非完整性”研究生姓名張奏雪導(dǎo)師姓名陳世寧教授申請學(xué)位級別亟學(xué)科專業(yè)名稱差苤堂論文提交日期呈嫂笙壘旦Q旦論文答辯臼期2QQZ生曼且旦學(xué)位授單位直塞莖苤堂醫(yī)學(xué)位授予口期Q生旦旦答辯委員會主席賞主生麴撞評閱人選短王隨世塑睦塵童曾蟹強ABSTRACTTHEINTENTINCOMDLETENESSINTHEOILPAINTINGWHICHCREATEDBYARTISTS，BYSTUDYTHEVISUALSURFACETHEREARETHREEFACTORSFIRSTISTHEEXTEMPOREOFTHEARTIST’STREATIVITYMAKETHE“INCO丌1D1ETENESS”ARTWORKSECONDISTHECOMPOSITION’SMOBILITY。INPROPORTIONTOTHERENALSSANCEPERIODCOMPOSITIONISBEENIDENTIFIEDASCLASSICALSTYLEWIDELYUSEDINTIME，SO～CALLED“COMPLETE”COMPOSITIONCOMPAREITCOMPOSITIONWITHTHEMODERNPAINTING’SCOMPOSITIONITEASILYTOSEETHEDIFFERENTCONCEPTCOMPOSITIONSTYLEINBETWEEN，“COMPLETE”AND“INCOMPLETENESS”COMPOSITIONTHIRDISTHECREATINGPROCESSOFAPAINTINGITSELFWHICHGIVESROREVISUALEMOTIONALNEEDTHROUGHTHEABORETHREEDESCRIPTIONS，WEREALIZEHUMANMINDCONCEPTCANBEINFLUENCEDBYSYNTHETICPRINCIPLE，ALTHOUGHTHOUGHLOOKINGAT“INCOMPLETE”ARTWORKACTUALLYIS“COMPLETED”THESEKINDOFARTWORKISMUCHIMPORTANTTODESCRIBETHEINNERFELLINGOFTHEARTIST，THEEARLYSTAGESFREEDMENOFTHEARTCREATIVITYONLYBEENRELEASEDJUSTNOWFROMITVALUEPRINCIPLEKEYWORDSINTENTINCOMPLETENESSCOMPLETENESS；EXTEMPORE；COMPOSITION；PAINTINGPROCESSⅡ

簡介：杭州師范大學(xué)碩士學(xué)位論文論懷斯寫實繪畫中的“抽象意味”1碩士學(xué)位論文論文題目論文題目論懷斯寫實繪畫中的“抽象意味”作者姓名作者姓名陳津津指導(dǎo)教師指導(dǎo)教師黃鳴學(xué)科專業(yè)學(xué)科專業(yè)美術(shù)學(xué)所在學(xué)院所在學(xué)院美術(shù)學(xué)院提交日期提交日期2008年5月31日杭州師范大學(xué)碩士學(xué)位論文論懷斯寫實繪畫中的“抽象意味”3ABSTRACTABSTRACTANDREWWYETHISONEOFTHEGREATESTAMERICANARTISTOFTHETWENTIETHCENTURYWYETHDESCRIBESNATIVEPEOPLEANDNATURETHINGSINTHEOPENCOUNTRYWHICHAROUNDHIMINAEXQUISITEANDRATIONALWAYOFHISREALISMPEOPLEALSODESCRIBESHEASA“NOSTALGICREALISMARTIST”BECAUSEOFTHISINTHEPAST60YEARS,WYETHPERSISTEDHISREALISMWITHASMALLNUMBEROFREPRESENTATIONALARTISTSPEOPLEALWAYSGETAFEELOFPOETRYANDASENTIMENTALEMOTIONINHISWORKSONCONTRARY,THELONELYARTISTICCONCEPTIONISNOTTHEREALMYTHOFWYETH’SWORKSTHEREAREALSOMANYMEANINGSINHISPAINTINGSTHESYMBOLISMWHICHAROSEPEOPLETOFEELMORETHEPURITYANDORIGINALBEAUTYOFAMERICANLANDSCAPETHEUNDERSTANDINGOFLIFEANDDEATHFORMWYETHTHEFREEANDKIDLIKEIMAGINATIONBUTNOTABSURDTHEPAINTERALSOPUTHISMEMORIESINTOHISUNIQUEARTWORKSTHEWAYWYETH’SARTSTYLEISNONCOMMITTALLY,SO,NOTEVERYONECANUNDERSTANDINGHISARTINADEEPLYANDROUNDLYWAYAMERICANPEOPLEWILLALSOMISUNDERSTANDINGTHEMEANINGSOFHISWORKSTHAT’SLARGELYBECAUSETHECONNOTATIONSOFWYETH’SWORKSAREFORMHISOWNEXPERIENCEANDFEELINGSITISAABSTRACTMEANINGFOROTHERONEWYETH’SWORKSALSOHASDEEPINFLUENCEINCHINAANDITAROSEDCHINESESCHOLARSANDARTISTSTOPAYATTENTIONONHISREALISMPEOPLEALWAYSKEENON“THEFEELOFPOETRY”AND“NOSTALGICREALISM”O(jiān)FHIMTHEREARERAREINVESTIGATORDIVEINTOTHEDISCUSSIONOFTHE“ABSTRACTIMPLICATION”O(jiān)FHISARTWORKSTHEINTENTIONOFMYTHESISISTODISCUSSTHE“ABSTRACTIMPLY”O(jiān)FWYETH’ARTBYANALYSESHISARTWORKSANDTHETHEORYOFABSTRACTIONISTSCHOOLINORDERTOPUTFORWARDSOMEHELPFULSUGGESTIONTHEREAREMAINLYTHREEPARTOFMYACADEMICTHESIS1ANALYSESTHE“ABSTRACTIMPLICATION”INWYETH’SARTWORKINHISEARLYTIME2THOUGHALOTOFTEMPERASANDDRYBRUSHPAINTINGSDREWBYWYETHANDTHETHEORYOFWKANDINSKYONEOFTHEMOSTIMPORTANTABSTRACTIONISTSCHOOLARTIST,IANALYSESTHE“ABSTRACTMEANINGS”INWYETH’PAINTINGS3DISCUSSTHE“MISUNDERSTANDINGS”FORMCOMMONPEOPLEONWYETH’WORKS,REDRESSTHESEERRORSTHEREAREALSOSOMEREPRESENTATIONALCONSTANTLYBRINGFORTHNEWIDEASINREALISMINTHISPARTOFMYTHESIS,IWILLANALYSESTHECREATIVENESSOFTHESEARTISTSANDTHEENLIGHTENMENTSWYETHBRINGSUSKEYWORDSWYETH,REALISTICARTWORKS,“ABSTRACTIMPLICATION”

簡介：單位代碼單位代碼1047510475學(xué)號學(xué)號104753100780104753100780分類號分類號J024J024碩士學(xué)位論文碩士學(xué)位論文傳統(tǒng)搜山題材繪畫研究以北京故宮藏搜山圖為中心學(xué)科、專業(yè)藝術(shù)學(xué)研究方向美術(shù)史研究申請學(xué)位類別藝術(shù)學(xué)碩士申請人龐曉博指導(dǎo)教師彭亞教授二〇一三年四月RESEARCHONTRADITIONALSEARCHINGHILLSDRAWINGSONTHECENTEROF“SEARCHINGHILLS“RESERVEDINGUGONGPALACEADISSERTATIONSUBMITTEDTOTHEGRADUATESCHOOLOFHENANUNIVERSITYINPARTIALFULFILLMENTOFTHEREQUIREMENTSFTHEDEGREEOFMASTEROFARTSBYPANGXIAOBOSUPERVISPROFPENGYAMAY2013

簡介：西安美術(shù)學(xué)院碩士學(xué)位論文歷史題材繪畫中的群體性價值觀念呈現(xiàn)姓名肖劍波申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師潘曉東20090301歷史題材繪畫中的群體性價值觀念呈現(xiàn)歷史題材繪畫對社會進(jìn)程的推動作用。其次，歷史題材繪畫維護(hù)了地域群體的和諧共存。1歷史題材繪畫體現(xiàn)地域群體價值。2歷史題材繪畫體現(xiàn)出的人文關(guān)懷。第四部分，是對當(dāng)代歷史題材繪畫創(chuàng)作的意義作以論述。當(dāng)代歷史題材繪畫創(chuàng)作的意義在于以史為鑒，對人類選擇未來有指導(dǎo)意義。另外從地域群體意義來說。包括三個方面1是對民族凝聚力的喚起意義。2是對民族歷史感的激發(fā)意義。3當(dāng)代歷史題材繪畫中的現(xiàn)實意義在于弘揚國家精神。關(guān)鍵詞地域群體性審美價值社會價值人類歷史研究類型理論研究LL

簡介：上海大學(xué)碩士學(xué)位論文茶緣墨趣中國繪畫中茶題材探微姓名高緒群申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)（水墨畫研究）指導(dǎo)教師王孟奇20090401上海大學(xué)碩士學(xué)位論文ABSTRACTASTHEWITNESSOFCHINESECULTUREANDTHECARRIEROFARTEXPRESSION，CHINESEPAINTINGHADACENTURIESOLDHISTORYANDALSO鷦ALLIMPORTANTPORTIONOFCHINESETRADITIONALCIVILIZATION，THETEACULTUREHADDEVELOPEDFORSEVERALTHOUSANDSYEARSANDFORMEDPROFOUNDCOLORFULANDPOLISHEDCONNOTATIONNOMATTEREMPERORANDMINISTER，LITERATORANDSCHOLARORORDINARYCIVILIANTTLEYALLHADDRANKTHETEA，TALKEDABOUTANDRECORDEDTHETEA，SORICHANDGENEROUSTEACULTUREWASFORMEDTHEPAINTINGOFTEATHEMEREPRESENTEDCHINESETRADITIONALCIVILIZATIONANDTHEVARIOUSSTYLESOFTEADRINKINGINDIFFERENTTIME，ANDTHECULTURECONNOTATIONANDAESTHETICSPIRITCOULDBEREFLECTEDTHROUGHTHEMITWASKNOWNTHATTHEREWEREMANYPAINTINGOFTEATHEMECOMEDOWNEVERYDYNASTYFROMTANG，ESPECIALLYFORTHEMING，HOWEVER，THEREWEL“EFEWDEDICATEDSTUDYANDRESEARCHABOUTTHECHINESEPAINTINGOFTEATHEMEANDITSSTYLEEVOLVEMENTANDARTCONNOTATIONINTHISDISSERTATIONTHROUGHTHECLASSIFICATIONANDCLEANINGUPOFTHEPAINTINGSOFTEATHEME，SOMEPAINTINGSOFTEATHEMEFROMBOTHOLDENANDMODEMTIMESHADBEENANALYZEDDETAILEDTHESTYLEEVOLVEMENT，REPRESENTEDCULTUREANDARTCONNOTATIONHADBEENUNDERSTOODBASEDONTHEPAINTINGEXPERIENCEANDRELATEDSTUDY，SOMESIMPLEDISCUSSIONWASMADEINTHISDISSERTATIONTHEINTENTIONWASTOMORECOMPREHENSIVEATTENTIONANDDEEPLYRESEARCHKEYWORDSCHINESEPAINTING，TEA，THESUBJECTMATTERSTYLEVI

簡介：分類號J2學(xué)校單位代碼10446碩士學(xué)位論文論文題目論文題目懷斯與艾軒、何多苓繪畫之關(guān)系懷斯與艾軒、何多苓繪畫之關(guān)系兼論“懷斯風(fēng)”現(xiàn)象兼論“懷斯風(fēng)”現(xiàn)象研究生姓名楊婷學(xué)科、專業(yè)美術(shù)學(xué)研究方向西方繪畫技法與理論研究導(dǎo)師姓名、職稱霍緒德副教授論文完成時間2014年04月摘要摘要20世紀(jì)70年代末80年代初以描寫鄉(xiāng)村生活為題材的鄉(xiāng)土寫實主義繪畫思潮在國內(nèi)一度盛行，在這期間安德魯懷斯作為美國寫實主義繪畫的代表畫家之一，其作品對一些中國畫家產(chǎn)生了重要的影響。其中有很多畫家借鑒了懷斯的藝術(shù)形式并試圖模仿他。本篇論文以懷斯的藝術(shù)在中國的影響為主要的研究對象，以受懷斯影響較深的艾軒、何多苓為例，探討由他們所代表的“懷斯風(fēng)”創(chuàng)作風(fēng)格的特點，與懷斯的關(guān)聯(lián)等問題，同時兼論“懷斯風(fēng)”現(xiàn)象在國內(nèi)盛行的原因。主要從艾軒、何多苓兩位畫家的作品與懷斯作品的對比入手，結(jié)合國內(nèi)的時代背景和主觀因素，繼而深入的了解“懷斯風(fēng)”現(xiàn)象的實質(zhì)，探討“懷斯風(fēng)”現(xiàn)象在國內(nèi)產(chǎn)生的原因。本文分為四個部分進(jìn)行闡述，第一部分主要介紹當(dāng)時中國美術(shù)界與懷斯有關(guān)的出版物和展覽現(xiàn)象以及受懷斯影響的中國油畫界。主要列舉現(xiàn)象，用現(xiàn)象說明懷斯熱的程度。第二部分和第三部分是本篇論文的重點，主要以艾軒與何多苓為例論述懷斯對中國畫家產(chǎn)生的影響以及他們是如何將他人的藝術(shù)風(fēng)格融入自己繪畫的過程。從艾軒與何多苓藝術(shù)的特征、藝術(shù)作品中的懷斯圖示和與懷斯作品的異同等方面來闡釋艾軒與何多苓對懷斯藝術(shù)的演繹。第四部分試圖探討“懷斯風(fēng)”現(xiàn)象在中國興起的原因，結(jié)合國內(nèi)特定時代背景等客觀因素，從情感的共鳴和獨特的表現(xiàn)形式這兩個角度進(jìn)行探討。關(guān)鍵詞“懷斯風(fēng)”，影響，艾軒，何多苓，原因

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